WLR #5

Kingdom of the Planet of the Apes

Directed by Wes Ball

You a off-brand ass Caesar everybody know it your homies fuckin’ know it, you ain’t shit…”

The title is more convoluted than the jungle the apes swing through. What a mouthful… As far as the movie goes, it’s another exhilarating, well-crafted ride from one of Hollywood’s most reliable and underappreciated franchises. I’ve always had a soft spot for Apes, largely because of a personal connection. My dad, a man who almost never watches movie—he thinks they’re a waste of time—loved the original. He showed it to me when I was a kid, and that memory stays with me every time I see a new one.

This latest, the first in a planned trilogy, suffers a bit from the weight of knowing it has two more chapters coming. Kingdom of the Planet of the Apes, (Christ that’s a lot to type) slogs along in the first half. That’s the risk when filmmakers and franchises stretch a narrative over multiple three movies; they tend to take their time, sometimes to the detriment of the first film. Even amid all the impressive motion capture and stunning jungle landscapes to lose yourself in, you can’t help but notice how long the movie takes to find it’s footing. But once it does—roughly halfway through—it begins to justify its extended runtime with a strong finish and a promising tease for what’s to come.

Like the best Planet of the Apes films, this one touches on existential themes—questions of identity, survival, and what it means to be human (or not). The visuals are stunning, and the world-building is top-notch. While the slow start might frustrate some, it’s ultimately a satisfying romp at the cinema. I hope people go see it. There’s something for everyone here, and for once, no pretense of it trying to be an action-comedy!

Three stars

APES AIN’T LIKE US APES AIN’T LIKE US

Furiosa: A Mad Max Saga

Directed by George Miller

Expanding on his already immersive post-apocalyptic world, George Miller goes forward by going backwards, excavating new caverns; the lore, politics, and carnage that led to the Valhalla we saw in Fury Road. From the opening scene—a young Furiosa reaching for a ripe peach—you’re keenly aware this is operating on a high cinematic level. Innocence and wondrous beginnings. Being young and naive in paradise. Deftly captured and mercilessly obliterated without a single word uttered. The scene stolen from you, like the character herself.

 And, you're hooked! Reality comes crashing down on the young heroine, and the movie is shot out of a canon at an unrelenting speed, coming up for air and dialogue (a little too infrequently), on its way to a spectacular finish. It’s hard to get me to react to VFX-driven set pieces—I'm rightfully sick of them—but this is a totally different ballgame. Everything is so unique, so of its own style, that you can’t help but edge closer to the screen. The vehicle designs are awesome! Chris Hemsworth’s turn as the villain Dementus is a diabolical riot. And Anya Taylor-Joy is the star we knew she was; but she doesn’t need to show the acting depth we’ve seen from her in projects like The Queen's Gambit or Emma. She just stands her ground, hits her marks, and lets that incredibly expressive face do all the work. Anya has a resting face that never rests, like a reverse Aniston, making for a powerful face in the frame, with those wide eyes juxtaposed her angular jawbones. She’s here to stay…

The film wasn’t perfect. A little dialogue would’ve added a lot to the romance, or almost-romance, between Furiosa and Jack. She was reserved, yes, but not primal and feral, she spoke from a young age. Yet, she played the moments of intimacy like she was too emotionally stunted to articulate her feelings, when clearly she could. A bit more conversation, just impactful statements even, would’ve elevated the stakes.

Despite this writers criticism Furiosa is a wonderful experience. George Miller clearly understands his world, delivering visually driven, action-packed entertainment that respects the audience’s intelligence. It’s a great action film that never makes you feel like a dummy for loving it.

Three-and-a-half stars

Evil Does Not Exist

Directed by Ryusuke Hamaguchi

 This was my first film from Japanese art-house darling Ryusuke Hamaguchi, and I knew going in that I should expect something contemplative and thought-provoking. A film that would take its time, seeping into your pores—the complete opposite of Furiosa. In some ways, it lived up to those expectations, but in others, it kept me at arm's length, never quite allowing me to get comfortable with its sparse, and often times cold cinematic language.

There were beautiful moments. One, in particular, was a tracking shot that follows a father walking through the woods, only to lose him momentarily in the thick brush, then find him again, this time with his daughter now perched on his back. It was awe-inspiring, the kind of shot that stays with you. The kind that reminds you this is first and foremost a visual medium. The film’s environmental themes, especially during the tense confrontation at the PowerPoint presentation, were also resonant. It held my interest throughout, even as it frustrated me.

Because I have to admit, I didn’t understand the ending. It left me confused. While (I think) I grasp the sequence of events, I couldn’t quite wrap my head around why the filmmaker made those choices. I walked out of the theater scratching my head, unsure if I had missed something. Either way, it was an interesting film, even if I didn’t completely land on my feet by the time the credits rolled.

Two Stars