“War for the Planet of the Apes” – A Beautiful Modern Biblical Epic… With Apes

By Josiah Wampfler


War for the Planet of the Apes is an astounding achievement in filmmaking and the best finale to a trilogy I’ve seen since Peter Jackson’s Return of the King. Director Matt Reeves renders the world in lush colors and brings a type of controlled, sure-handed cinematography rarely seen in modern blockbusters. The action is electric, but not chaotic. It is a type of filmmaking and a type of story that we simply don’t see on this scale anymore where every single frame is deliberate and every camera move is purposeful. With War, Reeves has crafted a modern biblical epic with apes at its core and, though the filmmaking is clearly inspired by cinema of old, it couldn’t feel more fresh.

For the first time in the new Apes trilogy, our main protagonist is Caesar and the film is told almost exclusively from the viewpoint of the apes. After the events of the previous film, Caesar and his apes are engaged in a war with the humans they don’t want any part of. But, after Caesar suffers unimaginable loss at the hands of Woody Harrelson’s character, known only as The Colonel, the war becomes too personal to ignore. In his lust for revenge, Caesar leaves his ape followers to track down The Colonel. The peace-loving ape is in danger of being consumed by his rage and the unintended consequences of his actions put both he and the entire ape nation at risk.

Just like that other great trilogy capper, The Return of the King, War for the Planet of the Apes also happens to feature an astounding motion capture performance from the great Andy Serkis, who deserved an Oscar nomination for his final outing as Caesar. Serkis has always been an incredibly talented actor, but this is the first time he’s had the opportunity to shine like this. Recalling biblical epics of old, War cleverly portrays Caesar as a Moses-like character and Serkis rivals Charlton Heston in the role. This Moses must grapple with his duty and commitment to the ape nation and his rage. And though Serkis does a wonderful job showing us a darker Caesar who’s love for humanity has run out, we can the turmoil raging underneath the surface that is exacerbated by the character of Nova.

What truly makes War for the Planet of the Apes so surprising and wonderful is its boldness in being quiet and being still. While there is action (The film starts and ends with some incredible action scenes), the war that happens in the film is much more of an internal one. The quietness comes from the apes main mode of communication (sign language), but it also comes from the mute Nova. The young girl, played by a superb Amiah Miller, joins the group after her father is killed after attacking the apes and Caesar’s right-hand man Maurice can’t bare to leave her behind. She becomes a constant reminder for Caesar of the goodness of humanity, complicating his hatred and rage.

Due to the inclusion of another character who does not speak, the film quite impressively contains very little spoken dialogue. It is something that actually choked me up when the credits rolled and I thought about it: Matt Reeves delivered a beautiful, big-budget blockbuster that is told almost entirely through images and sign language and prominently features a mute girl who is a representation of the goodness of humanity. Instead of the cluster of noise that most Hollywood blockbusters bring us, War for the Planet of the Apes brings us back to the basics of cinema by truly sticking to the adage that a picture is worth a thousand words.

War for the Planet of the Apes contains a multitude of interesting themes that I could go on and on about, but I think it is mainly a film about the all-consuming nature of hatred and rage and the nature of humanity. It is a gorgeous and emotionally resonant end to Caesar’s story filled with incredible CGI from the folks at Wetta, incredible performances from the entire cast (I prefer to think Woody Harrelson’s Oscar nomination for for this film), a lovely score from Michael Giacchino and one of the best stories I’ve seen told in a modern blockbuster. With War, Matt Reeves has made the new Apes trilogy one of the best of all time.

 

War for the Planet of the Apes is currently available to rent through Google Play, Amazon Video and iTunes. It is also available on DVD and Blu-ray.

CB Podcast Ep. 96 – “Three Billboards Outside Ebbing, Missouri” Review

This week, the bros bring you recommendations in film and TV, plus an in-depth look at at writer/director Martin McDonagh’s third film, “Three Billboards Outside Ebbing, Missouri”.
Right Click and select “Save as…” to download.

Or choose your preferred listening app below.

Podcastaddict

Link Bank

Credits:

  • Hosts: Josiah Wampfler, Sam Wampfler & Jake Wampfler
  • Produced by Josiah Wampfler
  • A Cinema Bros Network Podcast
  • Theme Music by Josiah Wampfler. Film clips used under fair use. All rights belong to their respective copyright holders
  • Music clips used under fair use. All rights belong to their respective copyright holders.
  • Visit our website for show notes as well as articles covering film, television, video games, music & more!
  • Email us at cinemabrospod@gmail.com

CB Podcast Ep. 80 – “The Big Sick” // “War for the Planet of the Apes” Reviews

This week, the bros bring you two reviews for the price of one. The new romantic comedy comedian Kumail Nanjiani wrote with his wife, “The Big Sick”, and the final chapter of Caesar’s story, “War for the Planet of the Apes.”
Right Click and select “Save as…” to download.

Or choose your preferred listening app below.

Podcastaddict

Link Bank

Credits:
  • Hosts: Josiah Wampfler, Sam Wampfler & Jake Wampfler
  • Produced by Josiah Wampfler
  • A Cinema Bros Network Podcast
  • Theme Music by Josiah Wampfler. Film clips used under fair use. All rights belong to their respective copyright holders
  • Music clips used under fair use. All rights belong to their respective copyright holders.
  • Visit our website for show notes as well as articles covering film, television, video games, music & more!
  • Email us at cinemabrospod@gmail.com

CB Podcast Ep. 71 – Masterpiece Showdown: “No Country For Old Men” v. “There Will Be Blood”

After an unintended hiatus, the bros are back as they go back 10 years to 2007 to look at two masterpieces and pit them against each other in their new Masterpiece Showdown series. It’s “No Country for Old Men” vs “There Will Be Blood.” Only one film can be declared THE masterpiece of 2007. Which one will it be? Join the bros as they set out of this ridiculously impossible task.

Right Click and select “Save as…” to download.

Or choose your preferred listening app below.

Podcastaddict

Link Bank

Credits:
  • Hosts: Josiah Wampfler, Sam Wampfler & Jake Wampfler
  • Produced by Josiah Wampfler
  • A Cinema Bros Network Podcast
  • Theme Music by Josiah Wampfler. Film clips used under fair use. All rights belong to their respective copyright holders
  • Music clips used under fair use. All rights belong to their respective copyright holders.
  • Visit our website for show notes as well as articles covering film, television, video games, music & more!
  • Email us at cinemabrospod@gmail.com

“The Edge of Seventeen” – The Hilarious Yet Emotional Adventures of A High School Girl Told By Someone Who Actually Was One

By Josiah Wampfler

The high school comedy has become sort of a genre unto itself. You have classic films such as Ferris Bueller’s Day OffThe Breakfast Club and Heathers. Then you have more contemporary films like SuperbadMean Girls and Easy A. All of these comedies chronicle the adventures of high school teens, but they also have another similarity: They are all directed by men. In fact, if you do a quick Google search for “high school comedies,” of all the films you will see at the top of the page, only two are directed by women: Fast Times at Ridgemont High and Clueless. Which is not to say that the rest of the films in the “genre” are inherently bad for being directed by a man or that they treat their female characters poorly (though some definitely do). Several, including Easy AMean Girls, and Dazed and Confused actually have really good female characters. But, the newest edition to the genre, The Edge of Seventeen, presents the case for why it is so important to have more women writing and directing these films about some of the most formative years of girls’ lives.

The Edge of Seventeen is the directorial debut of Kelly Fremon Craig who, knowing her film would be compared to the films of John Hughes, told Indiewire she certainly didn’t set off to make a John Hughes film. She said, “It was only just a thing in the back of my head, that those films did mean something to me, and still do. I hope this film can live on the shelf with films like those.”

And, by my estimation, Craig succeeds in spades. The Edge of Seventeen is the perfect mix of hilarious comedy and genuinely touching drama that can easily stand alongside the films of John Hughes and other great films in the genre. The characters are fantastically complex human beings backed up by truly wonderful performances and a solid script. It is a film that truly sent me on an emotional roller-coaster. And one that I hope to embark on once again very soon.

The film centers around Nadine, played by the incredibly talented Hailee Steinfeld, who, at 17, is not only dealing with the normal struggles of adolescence, but also with the death of her father three years prior. Her family life is strained as her mother (Kyra Sedgwick) is emotionally unavailable and clearly favors her brother (Blake Jenner), who seems frustratingly perfect. Add to that an event toward the beginning of the film that throws her only real friendship into question and you have one troubled young woman.

Yet many of Nadine’s problems do appear to stem from her own actions or are further exacerbated by them. She is the weird outcast with strange fashion sense that probably projects too much confidence for her own good and she talks A LOT. And she just makes some extremely poor decisions throughout the film as she trusts the wrong people, lets jealousy take hold of her and lashes out at others. But Nadine never becomes annoying or hard to root for because it is all of these very apparent flaws that make her so human. And Steinfeld’s performance is also remarkably great.

Throughout the film, Steinfeld has what I refer to as Wilder eyes, which is taken from the late Gene Wilder and the incredible sadness he could put behind his eyes throughout many of his roles. For Wilder, it was what drove much of the drama in his performances, keying the audience into some latent emotional trauma within, but he also used it to drive the comedy as well. So too does Steinfeld use her eyes in The Edge of Seventeen to drive home both the drama and the comedy. With Nadine, the eyes are what connect us to her character. Behind them we see a genuine human being who is trying to do the right thing, despite the numerous mistakes she makes. It is a classic case of a good person doing the wrong things as the audience can only watch and root for them to course correct.

The film is also bolstered by an excellent ensemble cast as well, not least of which is Woody Harrelson as Nadine’s teacher, Mr. Bruner. Much of the film’s comedy comes from this relationship as Mr. Bruner is a foil to Nadine’s excessive talkativeness with both his slow manner of speaking and his sarcasm. Yet, again, the drama creeps in as we see the sarcasm and aloofness of the character peel back ever so slightly to reveal a man who truly does care. And I would be remiss if I did not mention relative newcomer Hayden Szeto who plays a love interest of sorts. His awkward, shyness is hilarious, yet, as with all the other characters, his humanity still finds its way through the comedy.

Kelly Fremon Craig, through her stellar script, sure-handed direction and perfect casting has truly delivered one of the best additions to the high school comedy genre. She has said that she did extensive research into the subject matter, talking to many teenagers about their experiences in high school, and it shows. The Edge of Seventeen is an extremely truthful and powerful portrayal of what it is to be a teenager. It deals with themes that we all have some experience with: death, growing older, responsibility, jealousy, the difficulties and joys of many types of relationships, depression and much more. And it does all of this while also being an extremely funny movie. That is quite an achievement in my book.