War for the Planet of the Apes (Reeves; 2017)

In 2011 Rise of the Planet of the Apes rebooted yet another beloved franchise in the attempt to show us the story of what happened to Earth while the astronauts who feature in the now classic 1968 movie were away on their ill-fated mission.  Most were surprised at just how gripping and intelligent this new take was with a story with themes warning us of the dark road hubris could one day lead the human race down, completely sympathetic and gripping characters despite their hubris, and just the right amount of action to make the film more a blockbuster and less a think piece so it can appeal to a broader audience.  Dawn of the Planet of the Apes continued the story of Caesar (Andy Serkis), the leader of the new intelligent species of apes, and once again ended up being an intelligent action film giving us both spectacle and commentary on xenophobia and its insidious and far reaching consequences.  Now we have the trilogy’s conclusion, and with Rise, Dawn, and now War for the Planet of the Apes we get to see the truly rare trilogy in which every part  is masterfully crafted both as an individual work and as one third of a larger epic story.

War for the Planet of the Apes picks up two years after the conclusion of Dawn with Caesar and his clan still hiding in the forests outside San Francisco, but now they are being actively hunted by the remnants of the United States Army who were called in to exterminate the apes by the human colony in San Francisco in Dawn‘s finale.  Caesar has had a new child in the intervening years and his older son has been acting as a scout trying to find a place the apes can relocate to so they can get away from the army without violence.   The news of a new living space reaches Caesar too late, however, as just as the apes are preparing to leave San Francisco they are discovered by the Colonel (Woody Harrelson), leader of the army stationed in the area who is bent on wiping out the apes.  A skirmish between apes and man ends with the humans being chased off, but the apes’ losses prompt Caesar to decide the Colonel must be killed at all cost and so he leaves his tribe on a suicide mission to confront the Colonel and end his life.


War for the Planet of the Apes has all the intelligence and empathy of the two films which preceded it.   This time, the major themes on display are ones of survival, revenge, and fear, though not the xenophobia which was the focus of Dawn of the Planet of the Apes.  This time the fears are very well known, not unfounded, and inescapable.  It’s less about fear of the unknown, and more about how we act when our fears are justified and right in our face.  Caesar and the Colonel are both charismatic leaders and idolized by those who follow them, and Andy Serkis and Woody Harrelson bring both of these magnetic personalities to life brilliantly.  As is the case in the best fiction, but particularly in the best action adventure fiction, we are given two characters working against each other who are nearly mirror images and the only reason one is considered a hero and the other villain is due to the lengths the Colonel is willing to go to ensure the survival of the human race and the men in his unit.

As has been the case in the first two films in the trilogy, the special effects on display in War for the Planet of the Apes are remarkable.  There are more animated via motion capture actors than live action in the film, but this does not create any lack of empathy in he audience.  The apes are still quite silent, preferring to rely more on sign language than actual speech, so their communication is done with facial expressions and body language and nothing is lost in translation despite the fact that what we are seeing isn’t real.   The environments also change this time, as we leave San Francisco and its forests behind for more northern climes, and again the shots involving the snow covered mountains are gorgeous.  Also deserving special mention is the lighting in the film.  Much of the action takes place at night, but Reeves and his crew never allow that to interfere with our vision either as mistake nor crutch.  We see everything we need to see while still understanding when the action is taking place, and in a Hollywood in which action scenes are literally getting darker and darker this was a pleasant choice.



This trilogy does have its problems, and one that seems to be consistent across all three films, and that is that since the characterizations and plotting are so intelligent that when a specific bit of action has to be rushed through due to pacing issues that bit really stands out.  For instance, in Rise of the Planet of the Apes what takes years and years to change Caesar’s brain so he has human level intelligence happens overnight with a little gas for the rest of the apes.  In Dawn of the Planet of the Apes Caesar is brutally fighting for his life with great strength and agility mere days after being shot with a high powered automatic weapon.  Without spoiling anything, War for the Planet of the Apes also has to fall into similar traps to keep the story moving, and that little bit of dumb shoved inside what is otherwise genius really sticks out.


Final verdict:  War for the Planet of the Apes ends its trilogy wonderfully, putting this apes trilogy up there with The Lord of the Rings, the original Star Wars trilogy, and the Nolan Batman films as one of the truly great action trilogies in all of filmdom.  Each part can be enjoyed on its own as a complete work and will still be satisfying, but the experience is amplified by enjoying all three as a continuous work.  Caesar will go down as a legendary Hollywood character, and his story as one of the greats.  I hope Hollywood ends it here and does not give in to the temptation to create more films as a cash grab as this really was the finale the story of Caesar deserves.  None of the films are perfect, War for the Planet of the Apes being no exception, but they are gripping and intelligent action films which deserve your attention.  If you’ve seen the first two, War is a must, but you probably already knew that.  If you haven’t seen the first two, you can still enjoy War for the Planet of the Apes, and I recommend you do, but I recommend even more seeing Rise and Dawn before moving onto this one for a far richer experience.

X-Men: Apocalypse (Singer; 2016)

Take Bryan Singer, the director who brought us X-Men, X2, and X-Men: Days of Future Past, the three films largely regarded as the best three films in the X-Men movie franchise to date, add a cast which includes several Oscar and Golden Globe winning actors and so many nominations amongst them you would be silly to even bother trying to wave sticks, and finally mix in some veteran special effects studios that have worked on some visually groundbreaking action films, including some of Marvel’s best films, and apparently you get an incredibly amateurish, ridiculous bit of cinematic garbage.   This is one of those recipes in which  too many good ingredients make a product which ends up being really foul .

There are a few pleasant things to say about X-Men: Apocalypse.  Kodi Smit-McPhee’s turn as Kurt Wagner a.k.a. Nightcrawler is wonderful.  The character is written well, and Smit-McPhee runs with that good characterization and nails Nightcrawler’s naive charm and good heart which makes him such a fan favorite.  Michael Fassbender also turns in yet another good performance as Magneto, though I don’t feel the writing for the character was that great in this case, but more on that later.  This is the first time that Xavier’s School for Gifted Students really seems like a school and not just an opulent building with kids in it that gets blown up, and seeing it in that light, the light that it should have been all along, really shows what opportunities have been missed in all of the earlier films.  Finally, Evan Peters is wonderful once again as Quicksilver, and even though I felt his showcase scene here is really just a rip off of his scene in X-Men: Days of Future Past in an attempt to get some cheap goodwill, I can’t deny that Peters really is a lot of fun to watch.

That’s about it for the good.


Start with the good then go to the bad?  That sounds familiar.

As for the rest, we have a poorly written movie with half-assed performances and even more half-assed special effects work.  Kinberg, the main writer for the screenplay, gives us a script that doesn’t understand its source material,  clumsily rams characters’ motivations into the script unless motivations are just glossed over completely, has completely unmemorable dialogue, characters that don’t seem to serve any purpose to the story at all, and uneven pacing.  Singer doesn’t obviously help any of this with his directing or story work, either, or at least if he did, I have to wonder how this script could have been green lit at all.

The special effects work in the film, particularly the really effects intensive scenes toward the climax of X-Men: Apocalypse, are so sloppily done that they are nearly unforgivable.  Perhaps the visual artists were trying for a unique style, but what ended up happening was visual effects that are distracting with just how unrealistic and obviously added in they were.  Some bits like Angel’s wings and Nightcrawler’s “bamfs” were well done, but anything done on a larger scale looks like something that would have called attention to itself even 10 years ago, let alone in a modern film.

The acting in this film, other than the handful of performances mentioned above, is either phoned in or amateurish.  Jennifer Lawrence as Mystique, in particular, stands out as she glassy eyed monotones her way through all her scenes refusing to put on the blue makeup and body suit which is the trademark of her character.  It doesn’t help that the writers are doing everything they can to make Mystique, a semi-regular villain in the comics, into a main character despite the fact that doing so makes no sense whatsoever even when you just take the movie universe into account.  James McAvoy isn’t given enough to do here, and when he does get a chance to show off, he blows the opportunities.  Oscar Isaac is miscast as the titular villain, and while there is nothing particularly wrong with his performance, it simply is a character that doesn’t suit him in the first place.  Finally, the rest of the actors, particularly Olivia Munn as Psyloche, give their all, but with really bad direction and end up just looking terribly hammy especially with the wooden performances of the veterans.


Pictured:  the unfortunate highlight of Olivia Munn’s performance.

The X-Men franchise is one of widely varying qualities.  The best of those films to date had been directed by Singer, but his streak has unfortunately come to an end.  Right now I’m not sure whether I’m rooting for the next film to right the franchise’s course, or if I want more failures so Fox will give Marvel back their characters to do not just properly, but perfectly.

Rating:  3.0 out of 10