WAR FOR THE PLANET OF THE APES Review

It's a weird feeling, rooting for the end or at least the defeat of mankind, but that is what this new trilogy of Planet of the Apes films has done. Each of the installments has done so well at tracking the progression of how these apes, namely Andy Serkis' mind-blowing creation that is Caesar, have become more human-like in their emotions as well as their mannerisms that it has become harder and harder to differentiate between the fact that what we're technically watching is a man versus beast tale. Of course, it's easy to throw those two labels around, but who actually deserves to have the title of beast fall upon them is debatable and especially in this final installment. In the inevitable War for the Planet of the Apes we find series screenwriters Mark Bomback and director Matt Reeves (Dawn of the Planet of the Apes) bringing the reinforcements that Gary Oldman's character made contact with in Dawn to the front lines and drawing the line in the proverbial sand. Reeves, who took over for Rupert Wyatt after the first installment, has crafted two distinct, but equally effective pieces of filmmaking that are as well-crafted as one could hope for. The film hits all the marks of a masterful technical achievement while at the same time deviating story expectations by not necessarily being generic summer popcorn entertainment, but are rather some heavy and heady pieces of cinema that have plenty of thoughts jumping around inside their heads as well as layers upon layers of allusions to the point each individual viewer could potentially see and receive something different when experiencing them. That said, both Dawn and now War never display that factor that pushes either of them over the edge of good, solid entertainment into something greater. It's a difficult feeling to describe given it is also a difficult thing to come up with anything negative to say or anything that specifically detracted from the experience of viewing the film, but speaking to the emotional state you reach after said experience War leaves you with a strong impression of being truly impressive, visually magnificent, but not nearly as intellectually or emotionally stimulated as it seemed you would be about midway through the movie. War for the Planet of the Apes makes us root for its primate protagonists, but it never lends the viewer the weight it seems to desire nor does it hit with enough of an impact that it will leave you contemplating all those ideas it has floating around inside its mind in your own for longer than a few hours. It is grand without necessarily being epic, distinctive, but not necessarily special.

KONG: SKULL ISLAND Review

In the vein of Marc Webb going from (500) Days of Summer to The Amazing Spider-Man and Colin Trevorrow from the quaint Safety Not Guaranteed to Jurassic World, Warner Bros. and Legendary Pictures have plucked indie director Jordan Vogt-Roberts from the safety of his summer getaway that he so lovingly crafted in his 2013 break-out, The Kings of Summer, and thrust him into the world of blockbusters with literally one of the biggest stars in Hollywood history: King Kong. In an effort to re-boot the property that hasn't been touched since Peter "Lord of the Rings" Jackson's epic attempt in 2005 and build a cinematic universe a la Marvel with Gareth Edwards 2014 iteration of Godzilla, WB and Legendary have given Vogt-Roberts the keys to Skull Island AKA the home of the titular Kong and several other species of creatures, most of which are prehistoric in nature, but in other cases-are species that come straight from the pages of an old school horror/fantasy novel. A place where those who own the earth really reside, the place that God forgot to finish. The place where not only a human tribe somehow still resides, but so is there proof of dinosaurs, of more than one Kong, and of devils from the deep that the best character in the film affectionately refers to as "skullcrawlers". And so, the question is-what has the director done with such an environment to elevate the mythology it inherently carries? What has he done to give this mythical island a real sense of place and of substance and of tangibility? Well, the answer to that question is more positive than what the response might be to, "How good is the movie overall?" as the movie itself is pleasant and fun enough, but the real value in the piece comes from seeing that of Kong do what audiences want to see him do on a large scale and creating a full-on world in which these unbelievably thin characters and rote plot exist. It is because this world in which these things exist does indeed feel so lived in and palpable that much is forgiven. Even the special effect that is Kong himself holds more weight and authenticity than one might expect with the film eliciting a real soul from the beast which is more than it can say for the majority of its human cast. This is all to say that Kong: Skull Island certainly has its issues and could benefit from having at least one protagonist other than the movie's eponymous monster that we could sympathize with, but in a strange turn of events the spectacle holds more significance than the non-existent emotions and ideas it seems to have never had any ambition of carrying. In that regard, this is very much decent enough popcorn entertainment-fine if not completely forgettable.

GOLD Review

Kenny Wells is a mess and that is pretty evident from the moment he appears on screen hoping to charm the curls right out of Bryce Dallas Howard's eighties frizzled hair, but even as he does this it's easy to tell there is no real thought behind his actions other than what the immediate rewards might be. This is key to understanding the type of mentality we'll be working with for the next two hours as Wells is a man who believes himself lucky to have been born into a family that started a mining company and who intends to carry it on even after the death of his father (Craig T. Nelson). Wells takes the idea from his father that they don't necessarily have to do this for a living as it's a crap shoot of a business, but instead pride themselves of getting to do this for a living. The question they're seemingly missing the answer to though, is the ever-present why? What are they doing this for? Seven years on after the passing of the elder Wells and Matthew McConaughey's Kenny has his men working out of a bar, trying to keep a lid on expenses, and coming up short in seemingly everything, but chiefly in keeping his family's business afloat. As a man who can't help but to try and survive for the next few weeks rather than the next twenty years Wells sees no other option other than to do whatever it takes to keep that business running. He is a man who puts a lot of stock in legacy in the way that he seems to inherently ask himself how proud his father would be were he to still be alive-would he be happy with what Kenny has done with their business? After the rather stirring opening and tone-setting title card fade away it becomes pretty clear that Kenny Wells is in a position neither his father nor his grandfather ever found themselves in. The guy is desperate to find backers for digs that no one believes in and that no one seems to believe will yield any results. Sure, Wells has responsibilities to his employees that are dedicated enough to work out of that aforementioned bar, to Howard's Kay who has stuck with him still and now works at that same bar as a waitress most of the time doubling as his secretary, but the biggest responsibility Kenny feels is clearly to that legacy he is set to taint. And so, Wells takes a chance, a risk-one that could fail just as easy as it could succeed, but one that perfectly encapsulates and sets the stage for how this protagonist McConaughey fully commits to will operate in the mostly entertaining circumstances Gold presents.   

A MONSTER CALLS Review

Cancer movies suck. Let's go ahead and put it out there-having to deal with a movie, a piece of entertainment, that reminds us of just how debilitating and ruthless a disease cancer can be not to mention the lack of control we are able to extend over it is not exactly something we like to be reminded of in our attempts at escapism. Putting a plot in your film that concerns the disease dealing in abnormal cells can be cruel and if nothing else seem a blatant attempt to play on the real life emotions so many viewers will recognize from dealing with cancer themselves or through that of a loved one. It's a bastard of a disease and despite the fact it gets no different a representation in A Monster Calls, the latest from director J.A. Bayona (The Orphanage, The Impossible), it remains the focus of this sorrowful fairy tale serving as the catalyst for all that our young protagonist experiences. What is most fascinating about how A Monster Calls deals with this potentially tired trope of a disease though, is that it never allows the disease to take center stage. This is not a story about the person suffering from cancer and it isn't a movie about how cancer will define the lives of those it will leave in its wake, but more it is about confronting the disease, dealing with it in an honest fashion, and having the gall to stare it down. What I have always found disheartening about Bayona's films is that they consistently tell powerful and affecting stories that are executed in glorious visual fashion, but never tend to stay with the viewer in any real impactful manner. Rather, Bayona is a director who calculates in order to elicit emotion as his pieces are all in their place and his aesthetic is of just as much value as the way in which he conveys his necessary themes, but no emotion from his films ever seems to grow inherently out of these carefully considered factors that are coming together to tell this particular story. Maybe it's that he considers such elements too long to the point there is no opportunity for organic emotion to grow in between, but with A Monster Calls there are serious strides made. More than any other feature the director has led prior A Monster Calls latches onto its themes and is able to convey with conviction this truth that is hard for our protagonist to swallow as well as the agony and adventure he must go through in order to finally admit that truth to himself.

Official Trailer for KONG: SKULL ISLAND

The first glimpse of the latest re-boot/re-make/re-imagining of the King Kong mythos we received this past summer looked visually engaging, but was always going to have deliver that something extra to differentiate itself from being just another in a long line of blockbusters that will now be populating theaters from March until August and now, this new official trailer gives us how exactly it stands to do that: John C. Reilly. In something of an interesting twist I couldn't have seen coming from a mile away (though I admittedly haven't been following this movie or its production too closely) it seems Reilly will serve as both the audience and a large amount of the ensemble casts way "in" to the world that Kong now dominates. He looks to be an explorer of some kind who became stranded on the island Kong inhabits and more or less took up with the indigenous people. That is, until the likes of a new batch of explorers show up (headed by John Goodman and Straight Outta Compton's Corey Hawkins) to mess things up. Again, director Jordan Vogt-Roberts (The Kings of Summer) has delivered a visually pleasing trailer that contains not only a solid amount of action and spectacle, but through Reilly he has also mixed in a fair amount of humor and so I'm even more interested to see what the director has done as I've probably watched his debut feature a handful of times and think his temprement could play will in the blockbuster arena. That said, Vogt-Roberts has already entered the franchise world as Skull Island is seemingly Warner Bros. and Legendary's attempt to bring King King and Godzilla head to head after establishing the latter in director Gareth Edward's 2014 Godzilla film. No matter the future plans though, I'm excited to see what Vogt-Roberts has in store for us in just a few short months. Kong: Skull Island also stars Tom Hiddleston, Brie Larson, Samuel L. Jackson, Tian Jing, Jason Mitchell, John Ortiz, Thomas Mann, Shea Whigham, Toby Kebbell, Eugene Cordero, and opens on March 10, 2017.

First Trailer for GOLD Starring Matthew McConaughey

Fool's Gold this is not though Matthew McConaughey once again stars and the point of the story is to seek out a lost treasure. Gold really shouldn't be thought of as any type of relation to that 2008 rom-com though, as it marks the first film from writer/director Stephen Gaghan (Syriana) in over a decade. Having no idea what the film was about before seeing this initial trailer and only having McConaughey's choice to go bald atop his head as the main identifier I wasn't sure what to expect, but having now caught a glimpse of what Gaghan has in store for us I am certainly more intrigued. Telling the true story of the Bre-X Mineral Corporation mining scandal the film follows a struggling businessman who teams up with a hapless geologist to find gold in the Indonesian jungle. McConaughey looks to be in full Oscar-mode here as not only has he gone bald, but he's added a bit of a belly and just looks downright sweaty and smarmy throughout this entire clip. After seeing Hands of Stone last week and given he's part of the ensemble in the sure to be hit adaptation of The Girl on the Train later this fall I'm more interested in the career of Edgar Ramirez and what he might do in the future so it's good to see him alongside McConaughey and in a prestigious picture such as this. That said, Gaghan didn't have a hand in penning this screenplay as he did for his Oscar-winning Syriana and Traffic. Still, given this is only the director's third major motion picture one has to assume many of his tendencies and instincts to tell a story will align with what has provided a solid track record thus far. Hopefully, the script was so good already Gaghan didn't feel it needed polishing before taking it on. We can hope. Regardless, this trailer certainly sells the film well with the influence of Martin Scorsese and Oliver Stone evident. Gold also stars Bryce Dallas Howard, Toby Kebbell, Rachael Taylor, Corey Stoll, Bill Camp, Bruce Greenwood, Stacy Keach, Adam LeFevre, Timothy Simons, Macon Blair, and opens wide on Christmas day.

BEN-HUR Review

There have been many a film versions of Lew Wallace's classic epic Ben-Hur, but of course the most notable is William Wyler's 1959 adaptation starring Charlton Heston that garnered eleven Academy Awards. It is a behemoth at three and a half hours and a product of a different time in Hollywood's history. A time when the studio system still reigned and historical/biblical epics were as hot as comic book movies are today. It was the success of Cecil B. DeMille's The Ten Commandments that also starred Heston that spurred MGM to invest $15 million (the most expensive film ever made at that point in time) in a new version of Ben-Hur. So, the question is: why re-make such a larger than life classic? Why even attempt to overcome the aura that surrounds a staple of popular culture as definitive as Wyler's Ben-Hur? While I questioned the reasoning for such a re-make it was easier to understand why an updated version of this story was necessary. The 1959 version is very much a product of its time and one that, through rose tinted glasses, can only be seen as this great epic that nothing and no one can touch or challenge. It has gorgeous practical sets and thousands upon thousands of extras shot on panorama that gives it the impression of being that much larger in its scope. It is also a movie someone of not only my generation, but those likely born in the decade prior to me and certainly those born after me, can't see without the already its status as one of the biggest, best movies ever made. Heston is this mythical type-figure of the golden age of Hollywood that can never be touched and so to even try and match such larger than life precedents would be an immediate way to automatically disqualify one's self from even being considered a valid piece of filmmaking. Still, with the 1959 version being as intimidating as it is an updated, shorter, and more current telling of the story might allow a way for modern audiences to find a way into the older version that they'd heard so much about though likely felt they'd already seen due simply to the lasting impression it's left. From the get-go director Timur Bekmambetov's (Wanted, Abraham Lincoln: Vampire Hunter) new version felt like it was going to be little more than a cheap knock-off (despite that $100 million production budget). Fortunately, while this 2016 take on Wallace's story is certainly the cliff notes version when compared to Wyler's it is surprisingly effective in accomplishing what it sets out to do and even has enough gumption to emphasize certain themes and actually develop characters rather than simply summarizing the previous versions with contemporary editing practices.

First Trailer for KONG: SKULL ISLAND Starring Tom Hiddleston

Well, Warner Bros. is certainly knocking it out of the park today in terms of quantity as not only have we seen trailers for their upcoming DC slate, but now they have released the first look at their re-imagining of the King Kong myth that they intend to make a part of another extended universe by pairing the King of the Apes up with the Godzilla from the 2014 film. While it has been just over a decade since Peter Jackson's three-hour epic that brought Kong back to the big screen WB has now pulled in Kings of Summer director Jordan Vogt-Roberts (in the tradition of Marc Webb, Colin Trevorrow, and Gareth Edwards) to once again launch a franchise of sorts by hopefully bringing some of his independent mentality to large scale blockbuster filmmaking. While it feels odd that something as big as this trailer makes the film look will be opening in March rather than the middle of summer that is also something of a compliment in that the film looks like a full throttle action/popcorn flick that will be easy to enjoy and difficult to dislike. With this first trailer for the film largely being a sizzle reel of sorts (it's absolutely stunning by the way) we get very little indication of what the story will be other than the standard "team of explorers ventures deep into uncharted territory," and that we get little to no dialogue from any of the principal cast gives very little sense of what types of characters we'll be dealing with as well, though Samuel L. Jackson certainly seems to once again be enjoying himself by hamming it up in another (see Tarzan) action tentpole that ironically feels like something from a bygone era. Tom Hiddleston, Brie Larson, John Goodman, John C. Reilly, Tian Jing, Corey Hawkins, Jason Mitchell, John Ortiz, Thomas Mann, Shea Whigham, Toby Kebbell, and Eugene Cordero join Jackson for the ride as Kong: Skull Island opens on March 10th, 2017.

WARCRAFT Review

Going into the long-awaited feature film adaptation of World of Warcraft I wasn't sure what to think or expect. The closest thing I could equate the experience with was that of Stardust back in 2007 where I assumed that the tropes of wizards, witches, and magical lands would follow a rather standard plot (not knowing it was based on a Neil Gaiman story at the time). Given that adaptation came from the likes of writer Jane Goldman and director Matthew Vaughn that film turned out to be a favorite of mine that I still enjoy to this day. This was the sole reason I had hope for Warcraft. I like Duncan Jones (Moon, Source Code) and that he came to this project as both a co-writer and director as well as a person who seemingly had an affinity for the source material I was given slight hope in the fact this story, that more or less looked like a second-rate Lord of the Rings, could potentially turn out to be, if not necessarily good, at least mildly entertaining. As it turns out, that is where this feature adaptation of the long-running video game series finds itself. With no point of reference and close to no expectations I went into Jones' Warcraft with the simple hope that it wouldn't be terrible and it's not-by any means. In fact, there is some pretty fun stuff to experience and even some affecting moments that caught me off guard. That isn't to say this movie isn't silly-it is, but that Jones and his team fully embrace the nerdiness of the material and are willing to do a deep (enough) dive into the mythology of this world and the numerous creatures that exist shows they're committed to not only the material, but that there is a certain regard for the story they are telling. All of that said, if you're not into such fantasy worlds or such fantasy stock characters then you will still hate or at least find what is going on here beyond ridiculous. And admittedly, outside of a few combat scenes and those aforementioned surprisingly emotional moments there isn't a whole lot to find appealing for an outsider looking in, but that this final product turned out to be as coherent and, for the most part, as fun as it is counts as a win considering the twelve years' worth of material the makers had to pull from combined with the task of pleasing fans of the games and the uninitiated alike.

New Trailer for Duncan Jones' WARCRAFT

Man, I really don't know what to make of this World of Warcraft adaptation. I don't play video games. I have no idea what is going on with this world, but the main thing working against it for the uninitiated audience is the fact it looks like little more than a Lord of the Rings rip-off. I of course have my hopes; hopes that somehow this will turn out to be more unique and enthralling than I suspect it to be at this moment despite everything I've seen looking rather generic. The closest thing I can equate this to is Stardust where I assumed that the tropes to follow a rather standard plot (not knowing it was based on a Neil Gaiman story at the time), but of course with the adaptation from Jane Goldman and Matthew Vaughn and with Vaughn (Kick-Ass, Kingsman) in the directors chair Stardust turned out to be a favorite of mine that I still enjoy from time to time. This is the sole reason I have hope for Warcraft. I like Duncan Jones (Moon, Source Code) and that he has both co-written and taken the helm of this adaptation gives me slight hope. The conflict between each species and how they want to handle the situation of their differences for the greater good is appealing and is heavier than what I expected, but I still don't know or care about any of the characters involved. The film certainly isn't shying away from putting on display how grotesquely nerdy the whole affair is, but for those who aren't familiar with the world I was hoping this second trailer would provide an anchor for the film in the form of a stand-out character, but I'm just as bewildered as I was in November when the first trailer premiered. That said, Warcraft stars Travis Fimmel, Toby Kebbell, Paula Patton, Rob Kazinsky, Ben Foster, Daniel Wu, Clancy Brown and opens on June 10th, 2016.

First Trailer for New BEN-HUR Adaptation

Ben-Hur is probably best known for the 1959 William Wyler adaptation starring Charlton Heston, but I'll be the first to admit I've never made it all the way through Wyler's three and a half hour adaptation of Lew Wallace's classic epic. I've seen bits and pieces and feel like, once upon a time, I even almost finished it, but at this point I was so young I hardly remember the specifics and have no right to form any kind of opinion on it and so it seems I will need to correct that before the end of this summer as we now have director Timur Bekmambetov (Wanted, Abraham Lincoln: Vampire Hunter) trying his hand at adapting Wallace's novel. The story, which tells of a falsely accused nobleman who survives years of slavery to take vengeance on his best friend and brother who betrayed him, looks to have been streamlined as Bekmambetov has already said his film will not reach the lengths of Wyler's. The central focus looks to be the classic chariot race that, at the very least, should be visually enthralling given the directors past work. Still, the film more or less looks like what I expected the film to look like and will undoubtedly make little impact when it arrives late in the summer movie season. I'm not counting the film out solely based on the trailer, but the mash-up of Gladiator styled visuals and Roland Emmerich seeming substance doesn't bode well for the final product as we've seen countless imitators of Ridley Scott's sixteen year-old film come and go each failing to live up to their influence and I expect Ben-Hur to do the same, never mind trying to recapture the Oscar glory of Wyler's Best Picture winner. This new Ben-Hur stars Jack Huston, Toby Kebbell, Morgan Freeman, Rodrigo Santoro, Nazanin Boniadi, Ayelet Zurer, Sofia Black D’Elia and opens on August 12, 2016.

First Trailer & Images for Duncan Jones' WARCRAFT

I don't play video games. I haven't been interested in one since NBA Jam for the Super Nintendo came out in 1993 and so, when it comes to World of Warcraft, I have no idea what is going on. That said, I do like the work of director Duncan Jones (Moon, Source Code) and that he has both co-written and taken the helm of this adaptation gives me a slight interest. Still, the full trailer that has premiered today offers little in the way of trying to convert those that aren't already fans as the visuals represent little more than a Lord of the Rings-esque epic with orcs and humans battling one another. I will say the conflict between each species and how they want to handle the situation of their differences for the greater good is appealing and is heavier than what I expected from a movie adapted from a video game, but that just illustrates what low standards we have for our big budget Hollywood spectacles. I can't say that I'm excited for this feature at all as I have no vested interest in the material and the trailer does nothing to excite or intrigue me further, but I am interested in how this will play with the general movie-going audience. Will anyone see this beyond the gamers who already enjoy these characters or will Universal Pictures come to regret this $100 million investment if things go the way of Hitman, Doom or Need for Speed. Starring Travis Fimmel as the Alliance’s Anduin Lothar, Toby Kebbell as Durotan the hero of the Horde, with Paula Patton, Rob Kazinsky,Ben Foster, Daniel Wu, and Clancy Brown also starring Warcraft opens June 10, 2016.

FANTASTIC FOUR Review

Origin stories have become something of such trite exercises that when we are given something slightly different we're not sure what to do with it. That isn't to say director Josh Trank's (Chronicle) approach to his Fantastic Four reboot is necessarily a strong or even distinct one, but it is something. It certainly isn't what people would necessarily want or expect (that will be saved for the sequel if they're granted the opportunity to make one) given this film is more of a prelude than anything else, but there is much to appreciate. At a brisk hour and forty minutes I like that Trank's Fantastic Four doesn't take itself too seriously while consistently trying to remain as logical as possible. There is a sense of experimentation to the proceedings, a sense that tells us even the makers of the movie don't necessarily place too much importance on the going-ons of the plot, but are instead more interested in putting a few players on a certain kind of board and seeing what works and what doesn't. In coming at Marvel's first family of superheroes in this fashion it is obvious that Trank and his uber-talented and charismatic cast aren't actively trying to make something bad or even obligatory, but rather it's fairly clear they want the opposite. Things may not have turned out as well as they'd hoped in this initial run, but I have a sincere hope they get another shot to work out the kinks and to test their experiment again given it will contain more of the elements audiences want/expect from their superhero movies. I'm not going to completely trash Fantastic Four for trying to do something different with a story we saw on screen ten years ago. This is a story the board at 20th Century Fox likely insisted on Trank and screenwriter Simon Kinberg (X-Men: Days of Future Past) telling purely for the sake of retaining their rights to the characters and no doubt interlocking with their X-Men franchise at some point down the road. And I'm not looking for anyone to blame for the shortcomings of the final product because while there certainly could have been a more clear, precise vision for the film I kind of dug what we have here in terms of tone and character dynamic and only hope they have a chance to develop each further.

Teaser Trailer for FANTASTIC FOUR

There has been much naysaying when it comes to 20th Century Fox's re-boot of the Marvel Comic Universe's first family, but I have always maintained a sense of optimism. In holding back any kind of footage around director Josh Trank's (Chronicle) interpretation of the popular super hero property the studio has only upped anticipation in the film and thus, now that the teaser has finally arrived, seem to be getting a fair amount of good press simply for the film not looking like the disaster most expected. I'm super excited to see what Trank has done here as I placed the film on my most anticipated of the year, though admittedly out of a curiosity that had yet to be fed. The tone, as with any trailer, is key and Trank has definitely gone a completely different route than that of the Tim Story franchise. In fact, as the 2005 Fantastic Four had the unfortunate circumstance of following Christopher Nolan's introduction to his version of the super hero movie with Batman Begins Trank's version seems to be somewhat emulating that auteur's style and even certain themes of his latest, Interstellar. From the voice over to the shot selection of fields of green and space exploration there are certainly similarities. It is all about pushing the possibilities of humanity and while I love the look, the tone and the possibilities for the film itself this trailer paints I simply hope the serious tone can be carried over to a man who gains the ability to stretch his limbs. Fantastic Four stars Miles Teller, Kate Mara, Michael B. Jordan, Jamie Bell, Toby Kebbell, Tim Blake Nelson and opens on August 7th.

DAWN OF THE PLANET OF THE APES Review

2011's re-tooling of the Planet of the Apes franchise was a surprise in many ways, but mostly in the way that it was really good. I went into the film with modest expectations. Having only ever seen the 1968 original and the Tim Burton re-make I wasn't soaked in the lore of the franchise and didn't hold out hope for a resurgence in the narrative. Still, when you go into a movie framed as somewhat of an origin story and understand where it ultimately has to lead there is a level of intrigue you can't exactly put your finger on and that is what Rise of the Planet of the Apes capitalized on and did so in ways that made the picture, as a full body of work, excel in many ways. With those kinds of expectations set for the sequel and the fantastic trailers that have been rolling out over the past six months it was difficult to adjust one's excitement for Dawn of the Planet of the Apes in a fashion that might not be cause for disappointment when the movie finished playing. While I tried to avoid the trailers after the second one was released it was almost impossible to not see several television spots over the past month as Twentieth Century Fox has done well to position this as one of if not the major event movie of the summer. There was a lot of general love for Rise as I can recall speaking with friends who don't go to the movies regularly and them telling me they decided to go see it and how much they enjoyed it. That kind of attitude seemed to resonate with the average movie-goer and will no doubt translate to bigger business for Dawn, but while I can imagine this sequel being more than a satisfactory trip to the movies for those who enjoyed Rise once the excitement calms down it will likely become more clear the film suffers from not having as much substance, as much allegory or as much emotional depth as the first did. While it should not be thought I didn't enjoy this film (it is actually thoroughly enjoyable and will be worthy of repeat viewings) it is not a film that aspires towards the greatness of the first and because of this lack of complexity it feels all the more safe, all the more generic and any other adjectives such as these that allow Dawn to distance itself from the attributes that made Rise so interesting and entertaining.

Teaser Trailer for DAWN OF THE PLANET OF THE APES

I think everyone, including 20th Century Fox, was surprised in 2011 when the attempt to re-boot the Planet of the Apes franchise worked as well as it did. I was certainly taken aback by the quality of the film and was even tempted to place it in my top ten for that year, but while that film proved to be an interesting take on where the whole Charlton Heston/1968 drama began I never imagined it would have established a large enough following to amass as much excitement as there seems to be surrounding its follow-up, Dawn of the Planet of the Apes. While this is inherently a dream franchise for any studio as they don't have to depend on the name of a certain star being attached, but that the draw is more Andy Serkis in motion capture action as Caesar doesn't necessarily seem to mean they are skimping in terms of story substance. The new film, as directed by Matt Reeves (Let Me In) taking over for Rupert Wyatt, takes place fifteen years after the previous film and will seemingly chronicle the natural progression of how the apes came to be in power and how that Statue of Liberty ended up being buried in the sand. Granted, they are likely leaving plenty of space to get to that point so as to make a few more films in this series, but it will be nice to see the continued and natural arc of how these animals come to be the domineering race on earth. It all sounds a bit silly when you talk about it like that, but the Planet of the Apes series has always had serious social commentary going along with it and that seems to be present in the slim bit of footage and tone this teaser offers. It is a rather haunting first look and while they don't necessarily have to keep an actor on contract that doesn't mean they don't go for quality as Dawn of the Planet of the Apes stars Jason Clarke, Keri Russell, Gary Oldman, Kodi Smit-McPhee, Kirk Acevedo, Toby Kebbell, Enrique Murciano, Judy Greer and opens in 3D on July 18, 2014.

THE EAST Review

Brit Marling is officially three for three in my book. After first seeing the actress and writer in director Mike Cahill's 2011 film Another Earth it was not necessarily her acting skill that was intriguing, but the way in which she gravitated towards projects. Yes, she was good at playing guarded and mysterious, but she was also able to invoke a sense of real intensity that continues to carry through not only the characters she plays, but the films she has a hand in making. Last years Sound of My Voice paired her with friend and director Zal Batmanglij to produce one of my favorite films of 2012 while reassuring me and everyone else that science fiction didn't have to necessarily be big, bold new worlds and fantastic technology to be engaging, but it simply had to have a precise goal and Sound of My Voice was a film very specific in what it wanted to accomplish and did so with a perfect balance of mystery and intrigue. while I completely adore that film and was happy to see Marling re-team with Batmanglij again this year I was thankful they weren't treading the same ground, but were instead moving on to different subject matter completely while still looking to strike up a conversation. With The East these two young, but equally wise artists bring our attention to moral dilemmas. Though the film will grab you in advertisements by purporting to be a slick espionage thriller that follows a rookie agent on her first assignment there is so much more to the film than this generic sounding synopsis. The film is ultimately about deciding what is worth doing that many see as wrong for the greater good of what you believe is right. That is the purpose of the titular-named group that Marling's protagonist Sarah is pulled into and while we certainly expect her to make some type of connection with these people who genuinely feel they have to do these wrong things for the right reasons it comes as a surprise where Sarah ends up going on the arc this movie gives her. There is a balance here that doesn't lean too far in one direction so as to present a slanted view, but in all earnestness wants to create a big picture while getting the small details right in order to make it feel as honest as possible.