The end is here... and it’s Apetastic
Set two years on from the events of predecessor Dawn, War has finally arrived as the Apes reboot trilogy comes to a combustible climax.
For so long reluctant to head into conflict with human kind, Caesar (Andy Serkis) is backed into a corner by crazed military man The Colonel (Woody Harrelson) and his efforts to wipe out the apes.
Not many cinematic re-imaginings have been as critically and commercially wellreceived as this Apes series and I’m pleased to report that this third entry manages to avoid the curse of the threequel that often hinders trilogy-closers.
Dawn director Matt Reeves is back behind the camera and builds on many of the themes and character traits of the previous film.
Reeves’ fingerprints are all over the flick as this time he also co-wrote the script with Dawnscribe Mark Bomback and together they keep the blockbuster grounded as loyalty and trust are tested and a desire to ensure the survival of each species – using very different methods – dominate much of the just shy of two-and-ahalf-hour running time.
It’s pretty dark stuff too; although it’s hard to envisage how combat could be anything but. And some welcome levity comes courtesy of Steve Zahn’s cuddly ex-zoo dweller Bad Ape.
The similarities with 70s classic Apocalypse Now are hard to ignore, not least Harrelson’s Brando-inspired manic turn; The Colonel could easily be a distant relative of Brando’s Colonel Kurtz and the build to Caesar’s showdown with his adversary sees the ape leader and his comrades channel Martin Sheen’s Captain Willard and crew’s Vietnam river ride from hell in Apocalypse.
Like its cinematic inspiration, however, War isn’t all about gunfire and bloodshed as it takes its time before getting to the meaty action beats – and builds some of the finest non-human character development you’ll ever find in a bigbudget movie.
Caesar’s journey across this trilogy has been masterfully conveyed; this is a flawed but fullyfleshed hero whose desperate attempts to live a life of peace are constantly put to the test.
It has been said before that Serkis’ performance should be under consideration for awards attention and it’s easy to see why. The Londoner brings soul, depth, courage and rage to a layered dynamite display that’s so good you easily forget this is actually a man scurrying around wearing lycra covered in dots in a motion-capture gig.
Weta’s digital effects are as world class as ever throughout and Reeves juxtaposes them well with wintry backdrops.
When the action does arrive, the director never loses sight of keeping the audience emotionally invested, culminating in a touching gut punch.
In this era of spin-offs and extended universes it’s hard to accept the Apes are gone for good, but taken on its own merits, this is a stellar conclusion to one of the best trilogies of all time.