Sequel that’s no false Dawn
LIKE THAT other near halfcentury old allegorical sciencefiction franchise Star Trek, there’s been a quick rule of thumb about the success or failure of each instalment of this ‘‘simians-rule’’ series. Every second movie is worth seeing.
But while it’s been the even numbers that have stirred the imaginations of Trekkers, the odds have ruled when it comes to Planet of the Apes (which given that one went from TV to film and the other the opposite way has just the right ‘‘parallel universe’’ feel to it).
The 1968 original, the timetravelling Escape From and the original series circle-completing Battle all have their merits, while 2011’s Rise reinvigorated the story’s ‘‘reimagining’’, left floundering by Tim Burton’s monkeying around with the basic concept a decade earlier.
History suggests then that Matt Reeves’ ( Let Me In, Cloverfield) new Dawn should be treated with caution, but I’m pleased to report that it is a vital, vigorous and vibrant sequel to Rise – one that not only charts the progression of the science and art of motion capture (Burton’s 2001 prosthetic jobs now look laughable in comparison) but also the highs and lows of ape society, led by the enigmatic Caesar (Andy Serkis).
It’s 10 years after the events of Rise and the Simian Flu has left humanity on its knees. Government functions have been suspended and San Francisco’s remaining residents are two or three weeks from running out of fuel.
Their only hope is restarting a long dormant hydro dam, but standing between them and the power they crave are Caesar and the rest of the ALZ-113-enhanced apes.
Yes, Weta’s mo-cop magic is breathtaking, but it would be nothing if not allied to some smart, suspenseful storytelling from The Wolverine’s Matt Bomback and returning Rise duo Rick Jaffa and Amanda Silver.
DawnofthePlanetoftheApes. They takes us from a Quest for Fire- esque opening, through Lion King- esque potential tragedy to a stirring yet poignant showdown.
At times, the parallel father-son symbolism is ladled on a little too drawing to a close, Weaving’s caring case worker provides stability in a sea of supporting players who otherwise lend the film a TV movie sensibility.
It may be a fair call to portray stock characters in this genre given every real-life prison has its pecking order, but here the predictability and overacting just serve to undermine the story. From simpering, weasly Shane who lacks the backbone to pick his allegiances, to Warren, a chubby Tintin we’re supposed to be scared of, ultimately it’s as if writer/director Craig Monahan decided to do away with drama in lieu of slow motion shots of gigantic eagles taking flight. And there are plenty of those. thick, but it’s hard not to be swept along by the thoughtprovoking premise and sheer entertainment value of watching gorillas as guerrillas.
Set on a working farm, the film does provide an interesting insight into the modern correctional facility, and this helps to situate the cliched story in truth. Nature lovers may relish the scenes where majestic birds take centre stage. Even the Really Obvious Acting manages to keep us mostly engaged – after all, in a prison drama you never know who’s going to get their comeuppance.
But overall the limp narrative and leaden delivery of themes of redemption and freedom mean we know where things are headed long before the characters do, and watching it all unfold is a bit of a yawn.