Showing posts with label Matt Reeves. Show all posts
Showing posts with label Matt Reeves. Show all posts

Thursday, 1 March 2018

War for the Planet of the Apes
Dir: Matt Reeves
2017
***
At this point in the remake/reboot Planet of the Apes franchise I’m afraid I have little enthusiasm. That said, I found War for the Planet of the Apes to be a great popcorn film and I was entertained throughout. I couldn’t remember what had happened in the previous film Dawn of the Planet of the Apes and can only really remember what had happened in Rise of the Planet of the Apes. Essentially, it didn’t feel like it mattered too much as these films were really only remakes of the last two original films; Conquest of the Planet of the Apes and Battle of the Planet of the Apes, both of which I remember well even though it has been many years since I first saw them. None of the film needed to be remade and lessons should have been learned from Tim Burton’s rather woeful remake of the original. I think the real problem I have with the new three films is that why should I care? It is the twist ending of the original film that really started the need to know more about the Planet of the Apes and Beneath the Planet of the Apes should have killed off the franchise there and then. I absolutely love Escape from the Planet of the Apes though and there is also a lot to be said for Conquest and Battle that followed a few years later. If Rise, Dawn and War were to fill in the gaps then fair enough, but as these are remakes, we are essentially in a new Ape universe where none of the cool stuff we liked about the original have happened, so again, why should I care? They don’t really bring anything new to the idea and after three films, there still hasn’t been anything as near as interesting as the last thirty seconds of the original. However, I digress, War for the Planet of the Apes is easy viewing, much of the story has been formed already in the first two films, so at least the story can progress without much delay. What I really liked about this chapter is that it is almost entirely Ape led. The humans come into it later, but essentially this is the first 100% Planet of the Ape film from the Ape’s perspective – not counting Escape from the Planet of he Apes which is a different sort of film from the rest. Returning director Matt Reeves and writer Mark Bomback have said that for the third film of the reboots (the ninth Planet of the Ape film in the franchise) they watched thousands of movies, ranging from westerns to war films, and even a bit of space sci-fi. You can certainly see the western and war film influence and it makes for a much more interesting film. Most of the film sees Andy Serkis’s Caesar on horseback, wandering the land with his posse looking for answers – which is classic western. The finale is a combination of captive and battle themed war films, with many classics being obvious influences. It incorporates many elements seen in previous Planet of the Ape films but essentially this is a war western with monkeys instead of cowboys or solders and I have absolutely no problem with that. It is what it is. The special effects are what they are, I’m no less impressed than I was the first time we saw them but they are now nothing new. What I did like was the references to the earlier Ape films. The little mute girl they find is called Nova, just like the mute slave girl from the first film played by Linda Harrison. This isn’t the same character as there would be around a thousand years between them but it was a nice touch. The giant ‘X’s that the humans use to tie up the Apes are the same as seen in the original film and I also liked the way the rebelling group of humans were called Alpha and Omega, like the bomb that was worshiped underground in Beneath the Planet of the Apes. I expected references to the original but I would have thought Beneath the Planet of the Apes was the one film of the franchise that would have been swept way under the carpet. Steve Zahn’s Bad Ape character opens up many possibilities within the franchise but I hope the story continues with Caesar as the central point and that it doesn’t open up the idea, expanding the Planet of the Ape ‘universe’. Three sequels and four reboots is quite enough and more than the original deserved, as good as it was. This particular story-line needs to keep everything in focus and shouldn’t stray too far from where it is. If it does however, it should go all out and be a musical or should take place in space (or both). Apart from the impact of the original film’s twist, what the franchise really lacks is the warmth that Cornelius (Roddy McDowall) and Zira (Kim Hunter) brought to it in the originals. They are the characters that made me fall in love with Planet of the Apes and what they had is what is missing. It’s a great action film with monkeys, probably my favorite of the reboots so far, but that’s about it.

Thursday, 29 December 2016

Cloverfield
Dir: Matt Reeves
2008
***
Drew Goddard's Cloverfield is a logical progression in the 'monster movie' genre but it doesn't really cover new ideas, only new techniques. The movie monsters of the 1950's were all metaphors for something much bigger such as the cold war and communism and Godzilla, the biggest monster of them all, is famously really all about fear of the atomic bomb, following the events at Hiroshima. It was producer J. J. Abram who came up with the original concept after visiting Japan. He saw lots of Godzilla toys and declared to others at his production company that America needed their own monster that wasn't the cute and cuddly King Kong. He was quoted as saying "We wanted something that was just insane and intense". After passing an old Escape from New York poster he also stated that he wanted the Statue of Liberty's severed head somewhere in the movie and the idea went from there. I've said it before but I believe J. J. Abram is the biggest creative fraud working in Hollywood today. However, Cloverfield tapped into something quite interesting and very much of the era. The found footage horror sub-genre was inspired by the rise of YouTube, mobile phone technology and the popularity of TV news. The vast amounts of 9/11 footage the world watched was clearly an influence but without wanting to give credit where I don't think it is due, this film does tap into the West's post-9/11 paranoia.  The style of filming, nicknamed shaky-cam, was relatively new at the time and certainly hadn't been used in a mainstream action movie before 2008. It was met with mixed reviews, while it worked as a 'found footage' piece it did get tired quite quickly and those who were prone to motion sickness had a tough time of it. The viral marketing of the film was key to its success, applaudable at the time but less so now that nearly every action/horror has tried the same technique ever since. The build-up was pretty effective, it was intense and quite exciting, it just went downhill fast once the monster was finally revealed. Somewhere between Blair Witch and Godzilla, Cloverfield really isn't that original, and the fact that it played on very real paranoia following 9/11 left a bit of a sour taste in the mouth. The marketing was very clever but it made the film rather soulless. Each character even had their own MySpace profile, meaning they cheapened cinema and spoiled social media for everyone at the same time. It was a little bit like being sold a cheap used car, we the customer were bamboozled and we convinced ourselves that this was the one we'd been waiting for but we probably should have known better. In fairness, it gives us everything it promised and we did take a test drive so more fool us for buying into it. Credit due though, I don't love it but it does have clever elements and the found footage genre hasn't seen much better since.

Friday, 17 April 2015



Dawn of the Planet of the Apes
Dir: Matt Reeves
2014
***
If Rise of the Planet of the Apes was a remake of Conquest of the Planet of the Apes, then Dawn of the Planet of the Apes is a remake of Battle of the Planet of the Apes. Dawn of the Planet of the Apes is a much better film than Battle of the Planet of the Apes but only just. If you're going to remake a film then it should be much better, apart from a bigger budget and better special effects, Dawn is a lot like Battle in that there is an awful lot of riding around on horses around the woods and a little bit of fighting and not much else. The civil rights message is loud and clear however and is handled intelligently and effectively. The Apes look impressive, while the first films were a triumph of make-up artistry, the new films are pioneering the art of motion capture and are lead by, as far as I'm concerned, the only person who truly understands its purpose and its possibilities; Andy Serkis. Special effects aside, I wasn't that impressed overall, I like the Planet of the Apes films but I don't think this added much to the franchise but it is easy viewing. Apart from the great effects and brilliant motion capture, the reason I've rated it relatively highly is because of Toby Kebbell's Koba. Koba is one of 2014's greatest villeins by a country mile, the scene in which he acts like a silly monkey (for want of a better description) is worth watching the film for alone. The transformation from performing Bonobo to vicious killer is terrifying and thrilling in equal measure. It's a clever film to a certain point but unwelcome schmaltz creeps in.

Monday, 3 March 2014

Let Me In
Dir: Matt Reeves
2010
****
A completely unnecessary remake of Let the Right One in but I'm impressed none the less. It doesn't bring more to the story and Kodi Smit-McPhee reminded me too much of Lukas Haas's character in The Lady in White. I'm afraid I didn't think much of his performance compared to Kare Hedebrant's. I also thought Lina Leandersson was better than Chloe Grace Moretz but I was still pretty impressed by her. What I would say though is that Let Me In was visually more impressive. Less subtle, which was the beauty of the original but some of the scenes where just stunning. The back seat of the car shot is probably one of the most impressive scenes I've ever seen in a film. Very good in its own right but see the original first.