Rise of the Planet of the Apes review –
Rupert Wyatt helms this story written by Amanda Silver and Rick Jaffa as they reboot the origin of this acclaimed past franchise. Much cynicism and skepticism lay abound as to whether this film would deliver amidst a summer of blockbuster wizards and comic-based movies, but the creative team did manage to hit home and get the job done bar a few niggles here and there.
The plot sees scientist Will Rodman (James Franco) seek a cure for Alzheimer’s, as he hopes to save his ailing father (John Lithgow). Lithgow is an endearing character here as he creates a sympathetic wave that ties in nicely to the real star of the show in Caesar the ape. Will’s search for this cure unwittingly gives birth to Caesar, who then grabs the viewers by their lapels and dominates with an utterly splendid and comprehensive performance (thanks to WETA and Andy Serkis). Caesar’s high-brain function sees him astound Will’s studies but also, adversely lands him in some hot water and in places where he finds out where his true home and allegiance lies. In doing so, he recruits his army and sets out on a revolution. It’s unbridled revolt and the ride is thrilling.
Serkis and WETA are simply breath-taking with their CGI structure that makes the apes, Caesar, in particular, so realistic and one that we empathize with. He truly has humanistic traits that endorse us to root for him. It’s a well-portrayed role and no doubt, Wyatt has him as the real star of the show as he finds his true place and calling in the world. The apes on the whole are near flawless, despite moving too fluid and quick at times; they still manage to encroach on a sense of reality. They are brought to life amazingly and their interactions with each other help steal the spotlight. Caesar’s revolution is enticing and it’s fully believable, bar a few loose threads here and there. With a few nods and easter eggs thrown out in homage to the past movies, the lack of a strong lead is recurring here as Franco fails to engrain himself as he did in '127 Hours'. That though was not such a misstep as it gave the spotlight more and more to Caesar. Franco appeared wooden at times, but this was truly about the uprising. It was a tale of mutiny and Franco, along with the human cast, rightfully played peripheral parts. Freida Pinto, Brian Cox and Tom Felton also do nothing out of the ordinary as they’re there to act as filler, and while they aren’t spectacular, they perform their roles to a nice degree. Pinto’s doctor character gives a nice warm touch to her dynamic with Caesar, but her romance and chemistry with Franco, is clearly lacking substance and style. Despite a bland romance, the trials and tribulations Caesar endures are worth the watch. Felton and Cox are as dislikeable as the film-maker intended, and don’t lend too much to the film, except as minor foils for Caesar. It’s his leading of the revolution that draws our interests as his wit and intelligence, coupled with some deadly stares and stunning facial expressions, that make his behaviour on-screen frighteningly realistic and believable...a good recipe for enjoying the film. There are some plot holes that may be nitpicked upon as Caesar sparks a nice finale of chaos and anarchy to freedom, but overall, the climax is well-drawn out. It feels a bit rushed towards the end, but the final battle scene keeps you on the edge as we see that genius Caesar who leads an army, commands it...with no charades. Despite being rushed to the end, there is a nice little plot twist expanded on in the after-credit sequence that would make for an intriguing sequel.