This is the End: Review of War for the Planet of the Apes

War for the Planet of the Apes

Director: Matt Reeves

By Alex Watson

Closing out a trilogy can often be tricky but Matt Reeves gives Caesar and his band of apes a triumphant finale. War for the Planet of the Apes is continually thrilling third instalment but Reeves also injects a heartfelt touch where it is needed. The previous outing Dawn only hinted what this franchise could achieve. Together apes truly are strong and few could have expected a final act quite like this one.

Set two years after the previous events- Caesar (Andy Serkis) and his followers have located to a place deep in the woods. Desperate for peace and for his people to be left alone, Caesar issues an ultimatum. After an attack by a vengeful Colonel (Woody Harrelson) leads to tragedy for their leader- war between man and apes is declared.

Rarely taking a breather during a hectic first act, Matt Reeves plunges War for the Planet of the Apes in battle mode early on. Opening on a horrific firefight by soldiers and apes- the 'leave us alone' message is made violently clear. Caesar has become a weary and war fatigued leader who is haunted by visions of his friend Koba (Toby Kebbell) whom he killed in Dawn. Nothing is more gut wrenching than the sneak attack the Colonel issues soon afterwards. In the blink of an eye, his peaceful intentions are torn to shreds and his lust for revenge becomes overpowering. Unable to shift his anger, Caesar sets off to settle scores- but not without taking his loyal friends Rocket (Terry Notary), big lug Luca (Michael Adamthwaite) and his voice of reason Maurice (Karin Konoval) along for the ride.

The actual war part of this picture involves little actual warfare, Reeves wants to get to the heart of his characters rather than giving his audience 'Free Fire' with apes. The emotional content is decidedly heavier and even the biggest of fans will be questioning Caesar personal motives. Along the way, the apes show glimpses of being more human than their enemies. Picking up a mute human girl (Original Apes movie purists should look out for clues), Maurice forges a tender father-daughter bond with her. Our nameless Colonel, however, is an entirely different story. Shaving his bald head from his tower up high in his graffitied compound- his soldiers worship him like Kurtz in Apocalypse Now. One smart touch the movie makes is how perceptions of him shift rapidly throughout. At first, the wild eyed mad-man with who wants apes eradicated, soon we begin to clue in that certain events have influenced his fears of humanities eventual decline.

During a lengthy sequence when the apes are rounded up and used as slave labour to build a giant wall (wonder where this idea came from?) Reeves resists the urge to go full rebellion. Instead, he gives things a more thoughtful and considered approach. The smarts of the ape's plan and how well it is executed brings back memories of The Great Escape. Caesar emerges as a true cinematic hero during all this, particularly when willingly allowing himself to be flogged. Finally, when Reeves releases the much-anticipated fireworks, the result is surprisingly deep. Questions of differences between humans and apes surround War for the Planet of the Apes. "Look at your eyes, almost human," says the Colonel to Caesar at one point. Rather than letting the bullets fly and pleasing the popcorn audience- Caesar's final revenge is shown with great emotional depth. The complexities between the two leaders show the pain and suffering the comes with command.

Andy Serkis confirms his status as one of the most under appreciated actors of his time. What he achieves with his motion capture of Caesar is truly remarkable. Every little gesture rings true and the variety of expression and conflict from just using his eyes deserves big credit. Were there any justice, Serkis would be a multiple Oscar nominee by now. Woody Harrelson mixes in some great stir-crazy as the Colonel. At first, a pure antagonist intent on causing havoc, our opinions are forever changing whenever he appears. As the layers come off, Harrelson shows us a highly conflicted soul. Always a tall and looming presence, Harrelson plays the villain role well. Steve Zahn also impresses as the childlike Bad Ape- a coat and bobble hat wearing chimp. Showing an innocence and charm to this picture, Zahn shows a truly human side to these creatures.

War for the Planet of the Apes is the mighty finale this impressive series deserved to go out on. If Hollywood ever (and quite likely) reboots this again- good luck surpassing these movies.

Monster Mash: Review of A Monster Calls

A Monster Calls

Director: J.A Bayona

By Alex Watson

Rare it is that a movie captures both the innocence of youth and the pain associated with losing a loved one. Spanish director J.A Bayona's A Monster Calls is a picture that guarantees no dry eyes in the house. Delving into the loneliness, anger, and bitterness that comes with loss, Bayona shows us how comfort sometimes comes from the strangest places.  Making full use of Liam Neeson's Groot like tree monster, we are taken to a place most humans are terrified to visit.

Lonely schoolboy Connor O'Malley (Lewis MacDougall) is awoken each night at 12:07 am by a huge tree monster (Liam Neeson). The monster advises him that he will tell him three stories but after the last one, Connor must tell him his own story. Struggling to come to terms with the reality of his mother's (Felicity Jones) terminal illness, Connor feels isolated.

From the very onset of A Monster Calls, Bayona shows just how alone in this world Connor is. His mother's illness has forced him to fend for himself and the opening shows him making breakfast alone while mother coughs in the background. Things aren't helped by his strict grandmother (Sigourney Weaver) whose interfering has strained their relationship. His father (Toby Kebbell) is living his dream life away in LA and his visit only causes more friction. Bullied at school and now forced to move from his beloved home, little seems to be going right. A talented artist, Connor delves into a world of fantasy, something so familiar to many troubled teenage boys. When the monster first appears, his intentions are unclear but we sense he might be the only one who can save this kid. Whether this is a figment of Connor's imagination that is there to protect him or a creature sent from the heavens, Bayona refuses to reveal the secret.

In his breathy tones, the monsters three tales about a handsome prince, an apothecary and an invisible man each link in with Connor situation. The wonderful animated sequences inject life and colour into an otherwise bleak world. The third story is perhaps the one that will be the most celebrated, mainly because the monster's influence finally pays off. All around him, Connor is lost and his acting out threatens to tear his relationship with Grandma to shreds. As a side character, his elder is a great study on the suppression of grief. Bayona wisely doesn't make this only Connor's story because each person he is close to is affected in some way. The monster nurtures his destructive side, watching them go to town on an old house finally lets his frustration fly. Bayona keeps this adult side of the story to hushed conversations in other rooms. Shut out of his mother's illness Connor feels like he is confined to the shadows.

Perhaps the most prominent part of A Monster Calls is how deep the emotional core goes. Connor is counting on a miracle that he knows probably will not come. Only when he is forced to speak his truth does the monster's presence become obvious. It is a scene so potent and so unbearably raw that even the coldest heart will melt. This is a picture dedicated to a boys love of his mother and the fragility that comes with accepting fate.

Lewis MacDougall gives a great debut performance as Connor. Giving in the film its voice of youthful despair, MacDougall is very much a match for his more established co-stars. In limited screen time, Felicity Jones coaxes out a caring and utterly affecting turn as his mother. An emotional force throughout, she carries forward her fears of the unknown along with her regret she cannot be around. Sigourney Weaver is perhaps the ace in the deck and she captures the supporting honours. Playing a woman determined to put on a brave face, Weaver is magnificent. Barely able to contain her grief at losing her daughter, her desire to keep up appearances and be strong is what draw us to her.

A Monster Calls is unashamedly a weepie, but J.A Bayona also makes his audience think of life and death in a whole new way. After this picture prepare to bombard people you love with calls.

The Law of 4: Review of Fantastic Four

Fantastic Four

Director: Josh Trank

By Alex Watson

Carrying high hopes, Josh Trank's Fantastic Four reboot falls way short of the mark. From the beginning this film feels clumsily put together and never quite gets to grips with itself. Although this a darker and more ambitious departure from , the characters that Marvel fans have grown to love just do not feel like themselves. A sequel is due after this, but it will have to pull a great magic trick to get the fans to come back again.
Reed Richards (Miles Teller) is a young scientist attempt to perfect human teleporting to another dimension. Along with colleagues Sue Storm (Kate Mara), her brother Johnny (Michael B Jordan) and his old friend Ben Grimm (Jamie Bell), they attempt transporting themselves. When the trip ends in disaster, the group finds themselves with new powers and abilities. Soon they face a threat in the form of their old colleague Victor Von Doom (Toby Kebbell) whose trip to the same planet has altered his life forever.

In some ways, this installment of Fantastic Four is a welcome departure from Tim Story's old kid friendly and cartoonish films of old. At the same time there is a distinct lack of immediate action on display which quickly drains the thrill level. The tinkering of the storyline to make our characters students in a scholarship program doesn't benefit the story. Majority of the screen time is taken up with the planning and executing of inter-dimensional travel. Sounds great for science enthusiasts, but Josh Trank struggles to make this translate into entertaining viewing. Where is the needed whopping of bad guys that the film so urgently needs to inject? Even Tim Story had that base covered!

Another key issue is the characterization and despite having all copious of Marvel stories at their disposal, none of the four characters has the spark to ignite some interest. The new Reed Richards is a little too bland for this films taste and despite some awkward quirks he just doesn't register. The new Thing visually is impressive but he lacks the comedic feel that Michael Chiklis was able to bring last time around. A thumping and large presence throughout, this version makes his impact felt but lacks the memorable quality to stick around in our minds after. Dr Doom lacks any sense of danger of real menace. Trank makes him seem more like pissed off class nerd going on a revenge mission.

The last act of Fantastic Four ensures that events descend into a dull and almost comical mess. Watching a face-off as Doom makes his inevitable reappearance could have been the save this installment badly needed. Instead we are limited to rather lifeless battle, complete with the obligatory booms and pows inter-cut with some laughable dialogue such as "There is no Victor...Only Doom!" This origin story ironically suffers from a lack of story altogether and despite ending with a hopeful feel, we can only wish this had stretched across the previous two hours.

A talented cast isn't able to improve things to the required level and the talented Miles Teller is wasted in a one note role. Teller is never able to fully convince us that Reed is the man to save the universe from danger. This is disappointing as he is one of Hollywood's most engaging new actors. Kate Mara and Michael B Jordan try their hardest breath life into the brother/sister Storm duo but the material just isn't there for them to make their mark. Jamie Bell is one of the movie's stronger notes and he brings across a more believable Ben Grimm. His hurt and betrayed reaction to his new form is a moment of rare emotion in a Marvel film.

Josh Trank after his great work on his cult movie, Chronicle is brought down to earth with a harsh bump here. His Fantastic Four is a misguided effort that is effected by too many details and not enough action. I hope he is able to pick things up for the sequel otherwise "It's clobbering time!"