Jersey Girl: Review of Patti Cake$

Patti Cake$

Director: Geremy Jasper

By Alex Watson

Likened to 8 Mile and Hustle & Flow, Geremy Jasper's Patti Cake$ is a movie that shows us that talent is not defined by a person's sex or skin color. A star making turn from Australian actress Danielle MacDonald is the firing pin in this fine indie effort. Jasper makes full use of the bleak industrial New Jersey backdrop and we yearn for our heroine to escape the dive she lives in. With a catchy and infectious soundtrack, you will wish your life could be told through lyrical verse.

Patricia 'Dumbo' Dombrowski is a blue collar girl simply trying to make ends meet. Forced to live with her alcoholic mother Barb (Bridget Everett) and her sick Nana (Cathy Moriarty), it looks she has hit a dead end. One talent Patti excels at is rapping and despite being a talented writer and performer, her male counterparts looked down on her. Her best friend Hareesh (Siddharth Dhananjay) believes that she only needs the right producer. Could reclusive African-American punk rocker Basterd the Anti-Christ (Mamoudou Athie) be the answer?

There is far more to Patti Cake$ than just having some fine beats. The relationships she holds in this picture are shown with some raw power. Barb is the bane of her existence, an almost famous 80's singer who gave it all up to have Patti. Forever sozzled and having her daughter hold her hair back while she vomits, you can feel the strain a mile away. Though there are almost moments of lovely tenderness between the pair. Her sharp tongue Nana is slowly crippling the family financially with medical bills and Patti's boss refuses to give her any extra work.  Nicknamed Dumbo by her male rapper acquaintances, the very idea of a plump white girl wanting to make it big is sneered upon. "You look like a pig in shit!" mocks one of her enemies during a rap battle. No matter how high or low on the rap artist chain the people she encounters are, the reaction is always the same.

Her friendship with Hareesh is what gives the movie its sparkle and Jasper gives us some memorable moments featuring the two. Watching their lengthy introductions about each other via a pharmacy P.A system has us cracking a smile instantly. One of the few positive voices in her world, Harreesh believes his friend 'Killa P' and her 'pen game' are destined for greatness. Few friends in cinema are committed as this guy and unlike the heavily sexist wannabe gas station battle rappers, he looks past what the others see. Socially aloof Basterd proves a tough figure to track down, but when his woodland shack is finally revealed it looks like it was inspired by Tobe Hooper. From his bizarre first performance consisting of him screaming at everyone and calling them 'sheep' it is clear his talent runs a very different (and more frightening) path. However, he does possess the 'fire beats' that the pair desperately needs and together they form rap trio 'PBNJ' Trouble is the element that makes the group so great is also fails to get them forward.

The hopelessness of her situation gives Patti Cake$ a gritty reality and set against the decaying New Jersey scenery we can feel her desire to get out of her surroundings. Hearing the music is what makes this piece come alive and when Patti raps we can only sit in amazement. Seeing a packed house go from mocking and hostile and being unable to resist cheering is something to behold. Jasper makes out her talent as the real selling point. Yes, this is still your typical underdog story and perhaps not a perfect one at that. Despite this, the sheer amount of heart and soul is impossible to hate and seeing our heroine continually dismissed for her looks and image makes us root harder. There might be some minor setbacks such as the unconvincing side story of Basterd and Patti possibly becoming an item, but there are enough good tracks for us look past this oversight.

Danielle MacDonald is perhaps the biggest find cinema will have in 2017. The Australian will be registering on everyone's radar after a performance like this one. Channelling the frustration and desperation of someone wanting to get ahead, MacDonald makes us feel every inch of her character's restlessness. Bridgett Everett also rings in a deep turn as the drunken and conflicted Barb. A middle aged woman still clinging to her glory days, she is the type of mother everyone prays they do not get! Known to most of us for her appearances on 'Inside Amy Schumer', Everett shows her dramatic chops and this could open some interesting avenues for her.

Patti Cake$ is a great coming-of-age story and Jasper makes you work hard to love its heroine. If you're not repeating the letters PBNJ as you walk home, then you have no musical bones in your body.

Family Business: Review of Logan Lucky

Logan Lucky

Director: Steven Soderbergh

By Alex Watson

When he's not in between movie retirements, Steven Soderbergh does remind us what a great director he is. Logan Lucky might not be his strongest outing, but it still showcases what great character's he is capable of creating. The plot might be a little confusing in places, but there is a method in what Soderbergh and writer Rebecca Blunt are doing. On fun alone, this picture makes for great viewing.

After losing his mining job, West Virginia native Jimmy (Channing Tatum) resorts to pulling off the ultimate heist. Bringing along his one armed brother Clyde and sister Mellie (Riley Keough), the trio plan to rob the Charlotte Motor Speedway during the Coca-Cola 600 Nascar race. However, for their job to be successful they must recruit the imprisoned explosives expert Joe Bang (Daniel Craig).

Soderbergh is selective in the information he gives to his audience. We know enough to keep us viewing and this allows the story to go along, but don't expect an inch more. Jimmy is a former college football star who is down on his luck- adored by his daughter and hated by his ex-wife (Katie Holmes) he is barely scraping by. The two brothers are a continual source of amusement, Clyde, in particular, has a sharp sense of humour that totally offsets his dimwit presentation. Only having one-arm after serving in Iraq, Clyde believes fully in the 'Logan Family Curse'. Joe Bang is the character that will stick in the memory longest. A hulking, bleach blonde lunatic, Bang is essential to the plan due to his experience blowing up bank vaults. Grumbling about having to eat 'fake salt' with his beloved boiled eggs, there is an impressive set of brains underneath that will prove vital.

The heist itself rumbles along a furious pace and we are continually having to stop and check our knowledge. Being rookie bank robbers, the family is constantly having to readjust the plan. Jimmy, fortunately, has insider knowledge but even he has not accounted for the little details. One humorous moment sees Bang and the brothers arguing over whether one of the money slots is 20 or 30 yards away? "We're dealin' with science here!" moans our blonde criminal. Soderbergh refuses to hit the breaks and even the smallest details could be so crucial to our knowledge. This is a mostly well-oiled machine and when it fires Logan Lucky becomes his best outing in some time. Unfortunately, it is his fast and furious approach to the story that lets this picture down somewhere.

One of the most frustrating aspects of this movie is that there is a number of minor characters who spring up to do absolutely nothing. What precisely was the point of Seth MacFarlane's unlikeable British millionaire? Except being brash and obnoxious, this character adds little. Likewise the excellent Sebastien Stan and Katherine Waterston who pop up in brief unexplained cameos and promptly disappear. There is a closing investigation with a heavily underused Hilary Swank which only runs out the clock rather than adding another dimension. Soderbergh, for the most part, has made a solid thriller but all these unnecessary extra's only confuse everyone.

Channing Tatum again proves that underneath that well-toned body lies an actor with a lot of talent. As Jimmy, he is the beefcake out to snag the big prize. Once again Tatum is able to appeal to the likable side of a character and his dopey smarts are a joy to behold. Adam Driver again is on dazzling form as loyal bro Clyde. Coming off as the idiot brother bartender, underneath there is bravery and wit in spades. One of the more watchable modern actors, Driver almost steals the film. Daniel Craig however, takes the acting honors and his Joe Bang is a mile away from 007. Few actors alive can mix charisma with sheer menace, but Craig carries it off effortlessly. It's a big reminder of what a great actor he is no matter what suit he puts on.

Logan Lucky is a movie that despite its shortcomings demonstrates why cinema is all the richer for having Steven Soderbergh.

White Heat: Review of Wind River

Wind River

Director: Taylor Sheridan

By Alex Watson

Beneath its snowy winter exterior, Taylor Sheridan's Wind River is a movie where secrets are lost on the wind. After grabbing an Oscar nomination for his fine screenplay for Sicario, Sheridan proves he is also a fine talent behind the lens as well. This crime drama is like a ticking time bomb of tensions and Sheridan makes full use of the desolate Wyoming backdrop. A pair of fine lead performances by Jeremy Renner and Elizabeth Olsen is a compliment to Sheridan's fine style.

Cory Lambert (Jeremy Renner) is a local tracker and hunter who takes care of wildlife problems. One day while travelling by snowmobile he finds the bloody and frozen corpse of Natalie Hanson (Kelsey Chow) a Native American girl who was once friends with his daughter. FBI agent Jane Banner is called in to assist when it is suspected to be a homicide but finds herself unprepared for the harsh winter. After an autopsy reveals the victim was raped, a dangerous game of cat and mouse ensues.

Opening with a clearly terrified and barefoot Natalie running across a snow covered terrain, it is clear something has scared her to the core. Wind River is a slow cooker and Sheridan lets us see Cory in his quieter moments first. A man still mourning the tragic death of his daughter, he is simply trying to live with the pain he has. Sheridan makes us feel the icy cold of the surroundings and there is a sinister menace that mocks the residents on the breeze. Banner's arrival does shake up the locals as her 'strictly business' approach fails to endear her. Although Cory is not law enforcement, he and Jane are forced to work together as there is no better tracker around than him. At first, the pair does not bond well, but eventually, she comes to depend on his knowledge.

Sheridan is unafraid at showing us the ugly side of this drama, one visit by Jane to Martin Hanson (Gil Birmingham) reveals his wife's tragic breakdown. There are also moments of pure shock such as a botched raid on a shack full of drug addicts. Sheridan has the jump scare factor aced here and there are few minutes in this picture which inspire calm. Getting the tribal members to talk in this region is hard, especially since the majority of crimes against them go unnoticed. Police Chief Ben (Graham Greene) is attempting to keep order with minimal staff in an area 'the size of Rhode Island'. Wisely we are not given any real leads as to who the guilty person could be? The snow covered ground has covered a lot of tracks- though Cory as a tracker is an expert at spotting tiny details.

The third act of Wind River is where Sheridan's talent really shines. When the crime is revealed we are treated to a flashback that is so grotesque and uncomfortable it makes us feel ill. Think Hell or High Water meets Deliverance. The lengths people will go to protect others is horrifying and there is an intense paranoia all around. Possibly the tensest scene comes from when 10 people comprised of law enforcement, oil workers and Jane all decide to point guns at each other. It's a scene where things could get out of control fast and when everyone has itchy trigger fingers, it can only go south. This community has an 'eye for an eye' feel and there is a last act of revenge by Cory that continues this trend. Sheridan's movie is a rare beast and shows us that beneath the picturesque landscape, horror can be found everywhere.

Jeremy Renner showcases what a fine leading man he can be as Cory. Although a fascinating presence in The Hurt Locker, Arrival and The Town, Renner will mostly be remembered as The Avengers Hawkeye. The layers he adds to Cory are simply stunning and he gives the impression of a man holding on. His character possesses some good wits and is unafraid to get his hands dirty. Elizabeth Olsen is one of Hollywood's most underrated talents and as Jane, she shows just why she should be richly rewarded. At first a slightly obnoxious by-the-book agent, it becomes clear that she will need to go against her principles to get the desired result. Together Olsen and Renner make a good double act that ties the movie together nicely.

Wind River is a movie that will hopefully garner Sheridan some much-needed attention come award season. One of the best Hollywood writing talents now proves he has a director's eye to match.

Motor City Mayhem: Review of Detroit

Detroit

Director: Kathryn Bigelow

By Alex Watson

Tensions flare ferociously in Kathryn Bigelow's Detroit and from the opening frame, a city descends into anarchy. Reviewing one of the worse riots in US history, Bigelow is unafraid of showing the full horrors. At the centre, this is a picture of how lives get taken for granted when a city is out of control. 1967 Detroit is a place where the rules have disappeared and the effect of this will make audience members feel sick to the stomach by the movie's end.

In July 1967, during the third day of rioting, the Detroit police hear several gunshots from a window at the Algiers Motel. Quickly storming the building with bullets, officer's Krause (Will Poulter) and Demens (Jack Reynor) take control of the situation and line all guests up against the wall. Among the people persecuted are singer Larry (Algee Smith) and his buddy Fred (Jacob Latimore), returning Vietnam veteran Greene (Anthony Mackie) and security guard Melvin Dismukes (John Boyega). By the end of the night, lives will become irreparably damaged.

Furiously frothing away like a pot ready to boil over, Bigelow wastes no time in igniting the movie's revolt. When a raid on an unlicensed bar goes south, African-American onlookers quickly descend into looting and arson to vent their frustrations. This knife edge feel becomes unbearably claustrophobic almost immediately. Civil rights protestors are tired of feeling like second class citizens and the cops are fed up of the destruction. Officer Krause establishes himself as the primary antagonist, particularly when he casually shoots a running offender in the back. An abusive cop who makes full use of the chaos to play by his own rules. We are given time to both love/hate respective characters with Larry by far the most heart stealing. A talented singer for group 'The Dramatics' his dream gig gets pulled moments before he steps on stage due to rioting. This along with a series of unfortunate events send these different characters towards the Algiers Motel. You can sense the storm is about to hit, but you will not be prepared for the sheer force of it.

In one of the most sickening and horrific sequences of the year, Bigelow brings her audience right into the thick of a shocking violation. Physically exhausting and nauseating, this hour long experience is as close to a home invasion horror as you can get. After a prank involving a starting pistol started by pig-hating guest Carl (Jason Mitchell), Krause and co. descend upon the motel with a lust for vengeance. Honest and hard working security Dismukes also follows and his intention to do the right thing will land him a whole world of trouble. The sheer glee the officers get from threatening, repeatedly assaulting and shockingly even murdering guests is the most uncomfortable feeling imaginable. Detroit refuses to soften the blows and some audience members might want to hyperventilate into their empty popcorn bags. Krause acts as the sadistic judge and jury and the psychological torture he inflicts on the innocent people is like a fun game. The most stunning aspect to this whole thing is just how much people are willing to forget or overlook in the aftermath. Mark Boal's meticulously executed script shines brightest of all here.

Dismukes decline is possibly the most devastating aspect of Bigelow's movie. A security guard trying to act as liaison and saviour is looked down upon by both the cops who see him a siding with the enemy. Eventually, he will become an attempted fall guy. Those hoping for justice to be served and closure to be given are in for one hell of a ride. The third act is where this picture loses steam, even though our hearts are still racing uncontrollably. As the three cops and Melvin are thrown on trial for the nation to see- the steps taken to discredit and ignore the crimes that took place simply build anger and frustration. Overall 42 died and 1,200 were injured during the Detroit riots- in this picture the city is willing to overlook whatever transgressions took place and sweep this under the rug. Some characters are unable to look at life the same way again and after the trauma suffered it is little surprise.

The casting of this picture has been excellently done and Will Poulter is outstandingly evil as the baby faced Krause. A scene stealer whenever he appears, Poulter channels the joy he gets from playing his mind games. A bigoted and calculated cop, the riots have given Krause the chance to run wild. John Boyega is also excellent as the good intentioned Dismukes, giving us the same likeable charm as Force Awakens. A dedicated professional and wanting for everyone to be at peace, Dismukes is the victim of fate and being thrust into a no-win compromise is what seals his fate. Algee Smith is perhaps the most affecting performance as Larry. At first, a happy-go-lucky crooner about to hit the big time, his experience at the Algiers will send his life spinning out of the control.

Detroit is another example of just what an incredible filmmaker Kathryn Bigelow truly is. Few directors could have taken an event like this and shown the horrors in such unflinching details. Keep a spare heart for afterwards, you will need it.

The Iron Lady: Review of Atomic Blonde

Atomic Blonde

Director: David Leitch

By Alex Watson

There are few actresses on the planet better at kicking ass than Charlize Theron. Set against a thumping 80's soundtrack, Atomic Blonde is a gloriously pompous ride with a heroine to die for. Referred to as the female version of John Wick, director David Leitch (also John Wick's co-director) brings an effortless cool to proceedings. While the story might falter slightly during a lopsided third act, the entertainment factor never once goes below thrilling.

In 1989 Lorraine Broughton (Charlize Theron) is a British MI6 agent sent to Berlin to investigate the murder of a British agent by KGB. In the last days before the Berlin Wall falls, the city is ripe with corruption and murder. Forced to work with dishevelled agent David Percival (James McAvoy), Broughton must work hard to get back a vital list of double agents that has gone missing. If KGB gets their hands on it, it will mean a cold war extension.

Despite its setting during the final days of the Cold War, Leitch doesn't overload the story with political themes. Atomic Blonde is a wonderfully straight forward story of revenge, Broughton is a cunning heroine from the very beginning. Secretly mourning the death of her lover and fellow agent. This trip is as much about getting square as it is neutralizing the threat. Watching her crawl out of a bathtub of ice cubes covered in bruises gives only a hint of what she is capable of. Jumping back and forth from an interrogation with her superior Eric Gray (Toby Jones) and shady CIA man Emmett Kurzfield (John Goodman), we learn quickly that she is an unreliable narrator. However, she is also a sleek and ruthless killer who can also put on the charm in a heartbeat. In short, this is one compelling lady who can break bones and hearts in equal measure.

Percival is an operative who brings his own set of problems. An MI6 golden boy gone wrong, he is a continually hungover liability with 'bad Sinead O'Connor hair'. His agenda is to simply make money and swimming between East and West Berlin has him frequently dodging bullets. Also on the horizon are French operative Delphine (Sofia Boutella), who takes a romantic interest in Lorraine. The first half of Leitch's movie is all about fine tuning, but his style is very fluid and stylish one and this benefits the movie greatly. Along with Lorraine's ruthless and sexy edge, the film glides along on rails. Set in a cold and frozen Berlin, the danger she faces is well portrayed. Any one of the allies she makes could double cross her in the blink of an eye. Berlin is a city where rules have long since departed and every man and women are for themselves. Leitch's set piece direction, in particular, shines brightly, especially during an ambitious 8 minute one take fight scene. A ferocious display of punches, kicks and bullets- Lorraine is like a caged animal released as she fights against a multitude of enemies. Leitch follows this up with a breathless car chase in reverse- this is an early candidate for scene of the year.

What holds back Atomic Blonde is its writing because although the story is free of any needlessly long explanations, there are also too many unanswered questions. Lorraine is a ballsy character but certain elements to her character are left unexplained, likewise Percival and his descent into black marketing. Writer Kurt Johnstad seems to go for a level of intelligence the movie just doesn't have and the frequent twists and turns become unbearable towards the end. While for the most part, this is a well-polished affair, there are still specks that need cleaning up. When you have been given a rip-roaring ride like Leitch's movie, such errors are easily forgiven.

Charlize Theron proves she is Hollywood's main lady when it comes to playing tough female leads. Her Lorraine has a wonderful sly touch to her and the sheer amount of layers Theron adds are astounding. Morally ambiguous from the get-go, Theron turns in a multi talented performance that is as sexy as it is cutthroat. Lorraine might not have the same strength as Furiosa but she is every bit as tough. McAvoy is able to match his A-list co-star with a sneaky and slimy performance as Percival. The Scottish actor keeps this character's intentions secret throughout and it's a supporting turn that is always evolving.

Atomic Blonde provides cinema with the best female heroine of 2017 and is a movie to just sit back and enjoy- just try not to ask too many questions.

The Beach: Review of Dunkirk

Dunkirk

Director: Christopher Nolan

By Alex Watson

Few war movies have captured the horrors and struggle of WW2 quite like Christopher Nolan's Dunkirk. From the opening frame, this movie has its audience holding their breath in a worried silence. Celebrating a real miracle of wartime, Nolan shows us that heroism is found in the most unlikely places. Shining brightly during its numerous combat sequences, Nolan's movie is equally powerful during its quiet moments.

In May 1940, 400,000 British soldiers have been stranded on the beaches of Dunkirk for some time. Rescue efforts have proven futile due to a large number of German's surrounding them. Facing a horrifying ordeal and a potential invasion of their homeland, military personnel such as Commander Bolton (Kenneth Branagh), RAF pilot Farrier (Tom Hardy), army private Tommy (Finn Whitehead) and civilian sailor Mr Dawson (Mark Rylance) must all do their part to make a miracle happen.

Diving straight into the action, Dunkirk rarely gives its audience a chance to stop and think. Low on dialogue, Nolan uses the pictures to tell the story rather than dragging it down with a lengthy and wordy backstory. British soldiers are facing a hellish scenario and overhead the Germans frequently bombard them with air attacks. The wailing sounds of the fighter planes hurtling are like hearing death from above! Home is so close yet so far (39 nautical miles to be precise) and Nolan makes the sense of hopelessness feel so apparent. In one powerful scene on a windswept beach, one British soldier wades into the sea in despair. The movie is cut into three different sections 1. The Mole which deals with the situation on the beach, 2. The Air: which focuses on the RAF dog fights to protect soldiers on land and finally 3. The Sea which is where Mr Dawson roams into view.

The imagery of this movie is what truly sticks in the mind. Nolan has mesmerised our eyes before in Inception and Interstellar, but in this picture, he refuses to fall back on computer visuals. The powerful image of watching thousands of soldiers duck for cover during an air attack is far more jarring than CGI. The horrors of this war are frequently brought to our attention- in total four ships are sunk and rescue attempts have to continually restart. Watching young Tommy trying to drown out the sounds of gunfire while underwater painfully emphasises the torture that will follow. The concept of everyone doing what they can gives the movie an inner strength. Mr Dawson is a man willingly heading into a world of trouble and when he rescues Cillian Murphy's shellshocked 'Shivering Soldier' he sees how much he will have to endure. However, never once does his desire to save soldiers wane. Nolan doesn't seek to glorify this conflict and there is no overbearing sense of patriotism. In simple terms, it's about showing just how much ordinary people can be put through when things are on the line.

Although the timelines of Dunkirk's three stories often go back and forth in time- they are skillfully put together. Aided by Hans Zimmer's pulsating and ticking score- we know every second counts. Tommy and another young soldier Alex (Harry Styles) show the end of the innocence during the war. Pushed to breaking point they resort to increasingly desperate measures to get home. Farrier patrols the air with a calm authority and despite his fuel situation being unclear he still knows that each plane he lets slip away is one more than the British need. The air sequences provide Nolan's movie with an injection of thrills. A throwback to old air classics, Nolan films real Spitfire's flying against the vast number of German fighters. Goosebumps are guaranteed to appear whenever they fly by and for once a lack of CGI is a real blessing. Cinematographer Hoyte Van Hoytema's glorious photography is what makes this journey such a harrowing yet inspiring experience.

Despite established names like Branagh and Hardy being billed, their impact on this movie is minimal. Newcomer Finn Whitehead has an arduous task of being the very face of the ordinary soldier- but he carries it off effortlessly. Showing a conflicted soul, Tommy's exposure to the shock of combat shows a boy who is becoming a man way too soon. Harry Styles might have divided opinion with his casting, but as young Alex, he truly excels. Showing a depth of emotion and talent which will surprise many, Styles proves he has some fine acting chops. Mark Rylance once again proves he is now Hollywood's go-to man for supporting roles. His Mr Dawson is as selfless as they come and Rylance gives him a bravery that is iron-clad.

Dunkirk is a movie that will be rivalled by few this year. Some might see Christopher Nolan as a director who believes he is smarter than his audience, but this picture shows that he can also deep when given a straight story to tell. Highly recommended.

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.