A single act of both compassion and arrogance leads to a war unlike any other — and to the Rise of the Planet of the Apes. The Oscar-winning visual effects team that brought to life the worlds of Avatar and Lord of the Rings is breaking new ground, creating a CGI ape that delivers a dramatic performance of unprecedented emotion and intelligence, and epic battles on which rest the upended destinies of man and primate. — (C) Official Site
PG-13, 2 hr.
Drama, Action & Adventure, Science Fiction & Fantasy
Pierre Boulle, Rick Jaffa, Amanda Silver
Aug 5, 2011 Wide
Dec 13, 2011
20th Century Fox
“Rise of the Planet of the Apes,” Rupert Wyatt’s socially aware, achingly humane update of the venerable Fox franchise, is a supreme reminder never to assume. I mean, who thought that this seemingly well-worn series could be rehabilitated in such a clever, sophisticated way?
Wyatt and his scenarists Rick Jaffa and Amanda Silver surmounted this challenge by honoring the soul of Pierre Boulle’s original French novel, “La planète des singes,” while bringing a timeless modernity to the piece.
The Biritsh filmmaker has also contrasted the free-wheeling ’60s of the original film with the unfortunate conformist mentality that pervades the so-called New Millenium, giving this update a ’50s aftertaste.
James Franco is utterly convincing as a San Francisco scientist/idealist, with both a mission and an agenda, who is experimenting on chimps to find a cure for the Alzheimer’s disease that afflicts his father (John Lithgow). And Wyatt brings a certain element to his film, one essential to all films, that has fallen in disrepair in recent years – namely, exposition.
He takes his time creating the timeline that will take baby Caesar, a chimp from Franco’s high-tech pharmaceutical headquarters (named Gen-Sys), to his home where Caesar bonds with his father, to the animal refuge which is anything but. Here, “Rise of the Planet of the Apes” becomes a shrewd take on the prison-film genre, and the innocent, loving Caesar (brilliantly played by a digitally costumed Andy Serkis) becomes a hardened inmate. Think Eastwood in Don Siegel’s “Escape from Alcatraz.”
All of this plays as a commantary/allegory on the fate of all captive animals, including those who we think are comfortably domesticated.
The film’s big setpiece is a standoff between Caesar and his fellow escapees and gun-toting authorities on the expansive Golden Gate Bridge (there’s never any question which species is the superior one) – a huge action scene amidst a film that’s largely spoken. The dialogue penned by Jaffa and Silver is often quick, alert and literate, but there’s one word here, a mere monosylable, that speaks volumes. Memorably.