Rated PG-13 for violence and intense/frightening sequences
Cast: James Franco, Freida Pinto, John Lithgow, Andy Serkis, Brian Cox
Director: Rupert Wyatt
"Rise of the Planet of the Apes" gives you pretty much what you'd expect from a movie called "Rise of the Planet of the Apes." Is Rupert Wyatt's morality tale corny? You bet. Campy? How could it not be? Oversimplified in its message? Sure, but what morality tale isn't? One could scoff at the goofy premise or the preposition-happy title, but this is a skillfully told story that proves itself a much better re-boot of the original concept than Tim Burton's 2001 remake.
To its credit, the movie tries to be as credible as possible in how the story unfolds. Of course it's not uniformly plausible, but the film is wisely deliberate in its narrative plotting and progression, to the point where we understand that as the apes fight their way across the Golden Gate Bridge toward the Redwoods, they're doing so with a specific purpose. The smartest action movies are not about the action.
The film took hold of my interest from the get go, and it only waned a little during the aforementioned chase across the Golden Gate, as that scene felt the most auto-pilot-fueled. The filmmakers suddenly seemed more interested in a thrilling action climax than a cohesive narrative completion. (Indeed, the genesis of the "rise" itself isn't fully explained until the end credits.)
Said "rise" can be traced back to a scientific endeavor of personal origins. A devoted fringe scientist named Will Rodman (James Franco) is seeking a cure for Alzheimer's by creating a serum to boost brain function. Will has borne witness to the disease's effects on his ailing father, Charles (John Lithgow). His boss (David Oyelowo) is a capital-hungry opportunist who will only fund his subordinate's studies if it'll net him a profit. After a chimpanzee attack at Will's lab causes his work to get shut down, his animal handler (Tyler Labine) is ordered to put all the remaining chimps down. Unbeknownst to the powers-that-be, Will takes the baby of one of the chimps home and raises him while continuing his development for an Alzheimer's cure, all while finding time to strike up a romantic relationship with a lovely young veterinarian named Caroline (Freida Pinto).
Years pass. Will's chimp (having been taught to sign and given the overtly-symbolic nickname Caesar) has demonstrated an advanced level of intelligence. Will has determined this to be the result of the drugs given to his mother during pregnancy. Caesar (a digital effect incorporating the use of body language and facial expressions of actor Andy Serkis) now possesses an increased cognizance, and longs to be free. After attacking a neighbor (albeit in an effort to rescue Will's father), Caesar is forced into a state-run locked habitat housing many captured apes, and overseen by a shifty animal keeper (Brian Cox) along with his cocky, aggressive son (Tom Felton). The constant brutal treatment forces the apes to come together, rise up and turn the tables on their aggressors. This is done through some inventive thinking on Caesar's part, involving developments that can be viewed as contrived, but no more so than those offered by other summer movies.
The special effects are sort of hit and miss. When the apes are in motion, whether it be Caesar playfully swinging from the hanging lamp fixtures in Will's home or an army of chimps in full assault mode, their movements seem a bit stilted; they take on an almost cartoonish quality. (I had a similar complaint when Peter Parker donned the Spider-Man gear and swung from building to building.) The best effects are the close-ups of Caesar's face, as we're afforded the chance to contemplate the motives behind those expressions. The creepier moments aren't when the apes attack, but as they're planning their attack.
There's nothing striking about James Franco's performance, but that's not really a bad thing. Sometimes the best acting is simply knowing when not to overdo it. As the story's moral compass, Freida Pinto is inspired casting. Her attractiveness carries an emanation of purity with it; she's the kindest of kindred spirits. And Tom Felton makes a devilishly slimy young villain, and has a most memorable quote worked into his dialogue. (After Draco Malfoy and now this role, he is quickly becoming his generation's answer to Michael Ironside.)
While the movie won't stand out as groundbreaking summer entertainment, it nonetheless has an understated intelligence that distinguishes itself. We know where it's headed and we grasp the lesson with ease. Damn us all to Hell.
* * * out of * * * * stars
To its credit, the movie tries to be as credible as possible in how the story unfolds. Of course it's not uniformly plausible, but the film is wisely deliberate in its narrative plotting and progression, to the point where we understand that as the apes fight their way across the Golden Gate Bridge toward the Redwoods, they're doing so with a specific purpose. The smartest action movies are not about the action.
The film took hold of my interest from the get go, and it only waned a little during the aforementioned chase across the Golden Gate, as that scene felt the most auto-pilot-fueled. The filmmakers suddenly seemed more interested in a thrilling action climax than a cohesive narrative completion. (Indeed, the genesis of the "rise" itself isn't fully explained until the end credits.)
Said "rise" can be traced back to a scientific endeavor of personal origins. A devoted fringe scientist named Will Rodman (James Franco) is seeking a cure for Alzheimer's by creating a serum to boost brain function. Will has borne witness to the disease's effects on his ailing father, Charles (John Lithgow). His boss (David Oyelowo) is a capital-hungry opportunist who will only fund his subordinate's studies if it'll net him a profit. After a chimpanzee attack at Will's lab causes his work to get shut down, his animal handler (Tyler Labine) is ordered to put all the remaining chimps down. Unbeknownst to the powers-that-be, Will takes the baby of one of the chimps home and raises him while continuing his development for an Alzheimer's cure, all while finding time to strike up a romantic relationship with a lovely young veterinarian named Caroline (Freida Pinto).
Years pass. Will's chimp (having been taught to sign and given the overtly-symbolic nickname Caesar) has demonstrated an advanced level of intelligence. Will has determined this to be the result of the drugs given to his mother during pregnancy. Caesar (a digital effect incorporating the use of body language and facial expressions of actor Andy Serkis) now possesses an increased cognizance, and longs to be free. After attacking a neighbor (albeit in an effort to rescue Will's father), Caesar is forced into a state-run locked habitat housing many captured apes, and overseen by a shifty animal keeper (Brian Cox) along with his cocky, aggressive son (Tom Felton). The constant brutal treatment forces the apes to come together, rise up and turn the tables on their aggressors. This is done through some inventive thinking on Caesar's part, involving developments that can be viewed as contrived, but no more so than those offered by other summer movies.
The special effects are sort of hit and miss. When the apes are in motion, whether it be Caesar playfully swinging from the hanging lamp fixtures in Will's home or an army of chimps in full assault mode, their movements seem a bit stilted; they take on an almost cartoonish quality. (I had a similar complaint when Peter Parker donned the Spider-Man gear and swung from building to building.) The best effects are the close-ups of Caesar's face, as we're afforded the chance to contemplate the motives behind those expressions. The creepier moments aren't when the apes attack, but as they're planning their attack.
There's nothing striking about James Franco's performance, but that's not really a bad thing. Sometimes the best acting is simply knowing when not to overdo it. As the story's moral compass, Freida Pinto is inspired casting. Her attractiveness carries an emanation of purity with it; she's the kindest of kindred spirits. And Tom Felton makes a devilishly slimy young villain, and has a most memorable quote worked into his dialogue. (After Draco Malfoy and now this role, he is quickly becoming his generation's answer to Michael Ironside.)
While the movie won't stand out as groundbreaking summer entertainment, it nonetheless has an understated intelligence that distinguishes itself. We know where it's headed and we grasp the lesson with ease. Damn us all to Hell.
* * * out of * * * * stars
