I've reviewed Rise of the Planet of the Apes and am now revisiting Dawn of the Planet of the Apes to coincide with this weekend's release of War for the Planet of the Apes. I'm aware this review's a little late but I've had a busy weekend and only just got around to writing this review. I hope to have my review of War for the Planet of the Apes online ASAP.
'Dawn of the Planet of the Apes' Review
Nominated For: Best Visual Effects.
Recollection- 'Dawn of the Planet of the Apes' Review
Reflection- This section of my review is probably going to be a little boring considering my opinion of Dawn of the Planet of the Apes hasn't changed much in the last three years. I remember thoroughly enjoying Dawn of the Planet of the Apes the first time around and that hasn't really shifted at all.
Review- In Dawn of the Planet of the Apes, it's been ten years since the Simian flu outbreak. Mankind has seemingly been wiped out by the disease while Caesar's established a thriving ape colony in the Muir Woods just outside San Fransisco. When a band of human survivors emerge desperate to gain access to hydroelectric dam that can provide power to their encampment, Caesar must grapple with the decision to remain isolated from humanity in order protect his people or work alongside the humans in hopes of co-existing peacefully.
Reeves and cinematographer Michael Seresin extenuate this disparity by capturing the natural beauty of California's prolific locales in the film's quieter, peaceful moments and shooting intense action sequences primarily in a dingy, disparaged urban environment. It really speaks wonders that Reeves and his technical crew were able to stage something as outrageous as primates wielding machine guns while riding horses and make it seem plausible.
The Weta vfx artists also significantly stepped up their game as I still am unable to distinguish the motion-capture apes as being digital developments. The visual effects are undoubtedly an incredible achievement for the company that continually pushes the boundaries of technology in film. And I've got to give Michael Giacchino props for another sensational score full of captivating compositions.
In the acting department, Andy Serkis once again delivers a commanding performance via motion capture. Serkis is afforded an opportunity to intrinsically explore Caesar's responsibilities as a leader and father so Serkis imbues Caesar with the confidence, wisdom, and dedication that naturally accompanies said roles. Serkis is even backed by an exceptional primate posse including the likes of Nick Thurston, Terry Notary, Karin Konoval, Judy Greer, and Larramie Doc Shaw as Blue Eyes, Rocket, Maurice, Cornelia, and Ash respectively.
However Toby Kebbell challenges Serkis for the position of ruling motion-capture acting as his rampant, rage-induced primate Koba unleashes hell upon the humans and fellow apes. Kebbell gathers enough menace and intellect to portray Koba as a fearsome, undermining antagonist with understandable intentions, however radical those ideologies may be. It's precisely the quarrel between Caesar and Koba that evokes so many feuding philosophies found in history and cinema such as Malcolm X and Martin Luther King Jr. or Mufasa and Scar.
On the human side of things, Jason Clarke takes up a trusting demeanor as Malcolm and the progression from unease to upmost confidence in Caesar is a fascinating journey. Meanwhile, Gary Oldman's one of the most reliable supporting actors around these days and he makes the most of his time onscreen with grit and gusto. Elsewhere, Keri Russell and Kodi Smitt-McPhee each offer some sufficient impressions for their allotted screen time as Ellie and Alexander.
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