War for the Planet of the Apes - Film Review

These new Planet of the Apes movies are something of a miracle. What started as a franchise reboot no one wanted has inexplicably evolved into one of the great cinematic trilogies of this day and age. Starting on humble ground with Rupert Wyatt’s 2011 Rise of the Planet of the Apes – a film far better than it had any right to be – the franchise reached a new level of cinematic excellence when director Matt Reeves took the reigns for the sequel Dawn of the Planet of the Apes. Dawn is, in my not-so-humble opinion, one of this past decade’s masterpieces. I’d even go so far as to say it belongs on the same pedestal as Christopher Nolan’s The Dark Knight.

War for the Planet of the Apes might not reach Dawn’s heights, but it concludes this trilogy with finesse, ending on a note both exciting and emotionally satisfying. And as any good franchise should, it leaves the door wide open for sequels should 20th Century Fox opt to continue with this series. (Spoiler alert: they really should.)

It’s been two years since the events of Dawn. Caesar and his ape tribe hide out in the woods, pursued by human soldiers intent on wiping them out for good. This conflict reaches a boiling point when the soldiers attack at night while the apes are off guard, leaving the tribe weakened and determined to find a new safe haven. For reasons I won’t spoil here, Caesar takes the attack personally and makes it his mission to take out the soldiers’ leader, known only as The Colonel.

So, it’s a revenge story. There are complexities, sure, and intriguing ideas to boot, but there’s nothing as rich or effective as Dawn’s offerings. Part of this is the lack of a compelling villain. While Woody Harrelson is terrifying as the Colonel, his motivations are relatively straightforward, rendering him something of a one-note caricature.

Compare this to Dawn’s Koba, undoubtedly one of the great villains in modern cinema. Koba had strong motivations for the heinous acts he committed and his relationship with Caesar offered up difficult moral questions with no easy answers. Likewise, Koba brought out the best in Caesar from a character development standpoint. This time around, Caesar is single-minded in his quest for revenge, and it’s not nearly as compelling as his journey in Dawn.

But enough about what doesn’t work. Let’s talk about what does. Director Matt Reeves once again shows a knack for crafting beautiful character moments to go hand-in-hand with stunning effects work and visuals. Once again Andy Serkis steals the show with his finest performance to date. (Blah, blah, deserves an Oscar, blah blah) The motion capture effects have reached a whole new level. Never once did I look at the apes and think, ‘Wow, this computer-generated imagery is off the charts.’ I fully believed they were flesh and blood, occupying the same space as their human counterparts and the gorgeous scenery. Michael Giacchino’s somber, elegant score provides a somber and fitting backdrop.

Reeves has done something truly remarkable with this series. In an oversaturated era of franchise filmmaking, he’s made a singular creative effort, uncompromised by corporate demands. Where most modern blockbusters go for pizazz and fireworks, these films have gone for the heart and soul. That Reeves manages to close out this trilogy with any degree of satisfaction is a major accomplishment. Quibbles aside, War cements this rebooted series as a tale for the ages, taking this franchise to all new heights.

Interested in hearing my ranking of the entire Planet of the Apes franchise? Check out the latest episode of Missing Frames in which I join my wife Sarah for her first ever viewing of the classic series.

Spider-Man: Homecoming - Film Review

Spider-Man: Homecoming is the sixth Spider-Man film released in the past 15 years and the second attempt to reboot the franchise with an all new cast and creative team. You’d think at this point the character would have lost his appeal, but it speaks to the brilliance of Stan Lee and Steve Ditko’s original creation that he hasn’t. And it’s to the credit of Marvel Studios, director Jon Watts and the film’s SIX screenwriters (including Watts) that Spider-Man: Homecoming feels like a breath of fresh air.

But most of all, it’s thanks to Tom Holland, the youngest actor to portray the character in the franchise’s history. In Holland we have, for the first time, a Peter Parker/Spider-Man who actually feels like a teenager, complete with all the angst and turmoil that would entail. Beyond just wanting to see Spidey succeed and save the day, you actually fear for his well being because at the end of the day he’s just a kid. Holland is a delight, endearing and sweet as Peter Parker and hilarious and enthusiastic as his web-swinging alter-ego.

Spider-Man: Homecoming’s greatest strength is the way it scales things down. The comparisons to John Hughes’ films are fitting. This time around the name of the game is fun, and it’s in the high school scenes that Spider-Man: Homecoming really shines. The young supporting cast is just wonderful, with newcomer Jacob Batalon being the standout as Peter’s best bud Ned. Zendaya is another wonderful addition as the snarky Michelle. Holland’s scenes with them provide some of the film’s biggest highlights and I sincerely hope when the inevitable sequel comes around, we get to spend more time with the kids.

Honestly, the weakest elements of the movie are the main villain and the need to connect it to the Cinematic Universe. Not that the Vulture isn’t a good villain. Michael Keaton is excellent in the role and genuinely terrifying. There are some great scenes between him and Holland that evoke genuine shivers. It would have been nice, however, to get a bit more development and genuine understanding of his motivations - he always talks about how he’s doing what he does for his family, but in this case, a little bit more ‘show’ and less ‘tell’ would have gone a long way.

I also understand the need to showcase Tony Stark to prove to general moviegoing audiences that this new Spidey franchise is part of the overarching Cinematic Universe, and Peter’s relationship with Tony provides a solid arc for Peter’s character. It’s just that because of this franchise building mentality it feels like this Spider-Man doesn’t have as much room to stand on his own and carve out his own niche.

If there’s one realm in which Spider-Man: Homecoming left me feeling truly dissatisfied it’s in the lack of an emotional arc for Peter’s character.

I’m going to get a bit spoilery here, so just a heads up:

I know Uncle Ben was mentioned ad nauseum in previous films, and I understand wanting to move away from that direction, but Uncle Ben is THE reason Peter does what he does. I found it more than a little odd that Uncle Ben is never mentioned once, other than vague allusions. I don’t need this iteration of Spider-Man to get as angsty as the Tobey/Raimi version, but the character needs more of an emotional core.

**END SPOILERS**

Spider-Man: Homecoming isn’t strong enough to dethrone Sam Raimi’s Spider-Man 1 and 2, but it is undeniably fun and loaded with lovable characters and great action. It’s a promising start for this new franchise within a franchise and as long as Marvel keeps the character grounded and focuses more on his emotional struggles it could be something really special.

And just to follow up on my series ranking article, here’s my revised ranking of the Spidey films:

1. Spider-Man 2
2. Spider-Man
3. Spider-Man: Homecoming
4. The Amazing Spider-Man
5. Spider-Man 3
6. The Amazing Spider-Man 2

FINAL RATING: 4/5

Okja - Film Review

I’m not sure which demographic Netflix is hoping to attract with its latest original film Okja. On a surface level, it resembles family-friendly fare such as E.T. the Extra Terrestrial and Babe. In reality, it’s more at home alongside its brilliant director Bong Joon-ho’s other works, such as The Host and Snowpiercer.

That is to say it’s not at all ‘family-friendly.’

But regardless of the tonal confusion, Okja is more than worth your time, especially if you’re a fan of Joon-ho’s other works. It’s beautifully shot, frequently hilarious and emotionally devastating. Only Bong Joon-ho, who’s made a career out of juggling conflicting tones with finesse, could end up crafting such a satisfying final product. Not only is this another worthy entry in his filmography, it’s further evidence that Netflix is planting the flag as the go-to place for an artist’s creative vision to flourish.

Okja is one of twenty-six superpig genetically engineered by the Mirando Corporation to revolutionize the food industry. Each of these superpigs was sent to different areas around the globe to be raised in a ‘natural’ environment. The superpig that demonstrated the most growth would be dubbed the winner of the Mirando Corporation’s superpig competition.

Flash-forward 10 years. Okja, soon to be dubbed the best and biggest of all the superpigs, is living with her family, a young girl named Mija and Mija’s grandfather. Mija and Okja have grown up together, developing an incredible bond. Together, they explore South Korea’s gorgeous mountain scenery and embark on all kinds of adventures. But when the Mirando Corporation arrives to claim its prize, Mija will stop at nothing to get her best friend back, traveling from Seoul to New York City, making new allies and enemies along the way.

Any of Okja’s faults are easily wiped out by what does work: its sense of humor, Joon-ho’s stunning visuals, aided this time around by cinematographer Darius Khondji of Seven and Midnight in Paris fame, and the wonderful cast, led by Ahn Seo-hyun’s brilliant, steadfast performance as Mija. Jake Gyllenhaal and Paul Dano are the standouts of a strong supporting cast. Gyllenhaal is absolutely hilarious, giving a madcap turn as television personality/zoologist Johnny Wilcox. Dano gives yet another perfect performance as Jay, the kindhearted soul leading the Animal Liberation Front who aids Mija in her quest to rescue Okja.

The effects are extraordinary. The Okja character herself is a marvel of computer generated wizardry, capable of generating empathy and emotion with a simple glance. I never once thought of her as a special effect, so seamlessly does she blend with the action around her.

Okja contains political and social commentary out the wazoo, but although it doesn’t align with any particular viewpoint, it never outright condemns any of them either. Rather, it shines a light on the complexities, the beauty and ugliness of them all, and lets the audience be the judge. Even those with the best of intentions, such as the Animal Liberation Front, are susceptible to corruption when their ultimate goals are threatened.

No one is innocent, it seems. No one, that is, but Mija and Okja, whose love for one another will keep them going even through their darkest moments. Their story may be perpetually on the verge of being overwhelmed by the numerous plot points and characters, but Joon-ho and co-writer Jon Ronson wisely keep Mija and Okja at the center of everything. Amidst the commentaries on capitalism and political activism, it’s the love between these two that propels the story onward.

One can’t help feeling that was exactly Joon-ho’s intention. Amidst the political ins and outs and corruption found in nearly every facet of society, it’s all too easy to get distracted. We tend to forget about the things that really matter and why they matter. Okja is a powerful reminder of exactly that and it is a film you don’t want to miss.

FINAL RATING: 4/5

Baby Driver - Film Review

I can safely say I’ve never seen anything like Edgar Wright’s latest exuberant effort Baby Driver. Sure, you can pick out its influences, as with any of Wright's other films, (in this case, Walter Hill, William Friedkin, George Miller, etc.) but Wright meshes and melds genres with his own unique sensibilities, spawning a final product both familiar and unmistakably distinctive. Its action sequences will wow you. Its soundtrack will delight you. Its performances will draw you in and hold you close while some of the most insane car stunts you’ve ever seen unfold before your very eyes. It’s pure entertainment from start to finish.

The soundtrack is a key character in Baby Driver, not unlike films such as American Graffiti (another cinematic effort with cars at its center). Wright has designed Baby Driver to function as a musical of sorts in addition to a comedic crime thriller. You see, our main protagonist Baby, played with charm and finesse by Ansel Elgort, has a unique condition. He has a perpetual ringing in his ears, the result of a car accident that took the lives of his angelic mother and abusive father. He drowns out the constant hum with his music, which also spurs on his expert driving abilities.

It’s a spectacular concept, one that Wright executes flawlessly. Few movies can get away with wall-to-wall music, but the song choices are so on-point and so well integrated, it might just be one of the finest examples of how to pull it off. Wright takes the concept a step further by having action sequences play out in rhythm to whatever song is playing on Baby’s iPod. It’s a brilliant, energizing touch.

Baby Driver’s heart comes from Baby’s relationship with waitress Debora (another enchanting turn from Lily James). Their romance isn’t particularly complex or even all that original, but the strong performances make it work. Watching them bond through their mutual love of music, making song recommendations to one another, might not be ‘thrilling’ in the same way the film’s car chases are, but these scenes do provide their own special brand of excitement.

Elgort and Allen might lead the pack, but man oh man, this is one of the best supporting casts I’ve ever seen. You’ve got two, count ‘em, TWO Jon’s: Bernthal and Hamm. Jamie Foxx giving a terrifying performance as a vicious crew member. Eliza Gonzalez as a fierce, machine-gun toting badass. And topping it all off is Kevin Spacey as the team’s leader. They delight in reciting Wright’s magnificent dialogue and their banter is frequently hysterical.

The screenplay is tight, trimmed to its bare minimum. Not a single scene is out of place or unnecessary. Everything enriches the story and characters. You could call it simplistic, sure, but you’d be undermining just how much of an accomplishment it really is. And when it comes down to it the plot details are just the foundation for Write’s creative instincts to flourish, providing just enough to keep the exhilarating action moving forward.

(As a miscellaneous sidenote, I have to mention how much of a kick it is to see the city of Atlanta used so prominently in the film. My wife and I just moved here and Baby Driver has given us a major sense of pride in our new hometown.)

If you’re a fan of Wright’s work, you do not want to miss this, and if you haven’t had the pleasure of seeing one of Wright’s films, Baby Driver is the perfect introduction to one of this generation’s greatest filmmakers. Don’t miss it.

FINAL RATING: 4/5