As its title suggests Rupert Wyatt’s Rise of the Planet of the Apes is intended to lay the foundation for a new franchise of sci-fi flicks in which humans and super-intelligent apes battle for earthly supremacy. Its duty then is to explain within the span of two hours and with a modicum of credulity how exactly our simian friends might come to supplant us atop the animal kingdom. The scenario was at least partially addressed in Conquest of the Planet of the Apes the fourth entry in the original series’ convoluted and time-warped canon and while Wyatt's film draws inspiration from Conquest it is by no means a remake. Nor for that matter is related in any way to Tim Burton’s underwhelming 2001 entry. (And thank goodness for that.)
The titular rise begins as with many of the world’s great catastrophes with the actions of one highly irresponsible man. Will Rodman (James Franco) is a genetic scientist of prodigious talent and questionable ethics who works at a fancy San Francisco biotech firm called Gen-Sys (subtle!). His effort at producing a cure for Alzheimer’s Disease carries an ulterior motive: His father (John Lithgow) suffers from it and is close to entering its final stages. Will is close to a breakthrough when one of his chimpanzee test subjects goes well apesh*t causing his company’s suitably callous CEO Steven Jacobs (David Oyelowo gamely spewing lines like “I run a business not a petting zoo!") to order the research facility’s entire chimp population liquidated.
Will is busy carrying out the grim mandate when he discovers that one of the test chimps has borne an offspring one he can’t bring himself to euthanize. Instead he and his primatologist girlfriend Caroline (Frieda Pinto gorgeous and superfluous) partners in appallingly bad decision-making decide to raise the infant chimp as their own naming it Caesar. Having inherited his mother’s gene modifications he shows signs of advanced intelligence and quickly develops a close bond with his adoptive human parents. But Caesar soon outgrows his domestic habitat and eventually must be shipped off to a simian “sanctuary” that is in reality anything but.
At this point we’re halfway through the film – and miles away from erudite apes and enslaved humans. To get us on track director Wyatt executes a rather audacious tonal shift transitioning abruptly from what was heretofore a fairly sober Project Nim dramatization into the balls-out apes-gone-wild summer action flick promised by the film’s trailers. His efforts are aided tremendously by his screenwriters Amanda Silver and Rick Jaffa whose clever absorbing script offers just enough plausibility in the first half to make its increasingly loony second half not just palatable but downright enjoyable. Wyatt strikes a delicate thematic balance respecting the subject matter while acknowledging its inherent silliness. (Scattered throughout the film are sly nods to previous Planet of the Apes films as well as a glimpse of Charlton Heston in The Ten Commandments.)
The silliness accelerates seemingly by the frame in Rise’s latter half as Caesar mounts a conspiracy to escape his Dickensian squalor exact revenge upon his cartoonishly malevolent captors and take his simian revolution to the streets. And it only gets crazier from there – the third act is basically a PETA wet dream. As far as cautionary tales go Rise is about as cautionary as they come.
Andy Serkis who performed all of the performance-capture work for Caesar is a marvel in the role though the question remains as to how the credit should be divvied up between him and the technicians at WETA digital who “painted” the character’s CG features. And make no mistake Caesar is very much a character – as well-rounded and fully-formed and convincing as they come and easily more compelling than any of his non-digital counterparts. Franco for his part is credible enough as a scientist who in spite of his academic credentials is a bit of a dolt (and perhaps a tad disturbed) and Lithgow tackles a relatively thankless role with grace. But the real stars are all those damn dirty apes.
September 22, 2010 12:10pm EST
On the hit television show The Secret Life of the American Teenager protagonist Amy Juergens has to deal with high school drama boy troubles the needs of her young child and more making her days at Ulysses S. Grant High School far from ideal. In reality the lives of youngsters are even more complicated as all of the above in addition to peer pressure academic competition and the age-old quest to be cool can overwhelm the most focused individual.
Writers-directors Anna Boden and Ryan Fleck (Half Nelson) both dramatize and make light of the plight of pubescents in their sweet new film It’s Kind of a Funny Story. Based on Ned Vizzini’s novel which chronicles a lonesome teen’s brief stay at an adult psychiatric ward it is a very funny story but the filmmakers keep it levelheaded with melancholy supporting characters and a message about the affliction of our society’s medicated youth.
Keir Gilchrist (The United States of Tara) plays Craig a chronically depressed Brooklyn teen who checks in for treatment after contemplating suicide. An over-achiever caught up in the rat race that is the American Dream Craig’s pessimism and depression stem from neglectful parents more concerned with him gaining acceptance into an elite school than following his passions. His anxiety is aggravated by the dreadful current events of our time notably the wars and financial meltdown that have crippled the aspirations of much of our country’s youth. Though he is a bit over-dramatic Craig’s ailment does raise notable points about paternal priorities and an entire generation of disheartened dreamers.
But surrounded by the hospital’s eccentric group of patients including Emma Roberts’ damaged love interest Noelle and Zach Galifianakis’ emotionally guarded Bobby Craig makes a psychological breakthrough. Gilchrist is like the love child of Justin Long and Jay Baruchel but isn’t nearly as fun to watch as either of those hot-at-the-moment performers save for one Flight of the Conchords moment in the middle of the movie. It’s not that he’s unconvincing; he’s just dull. Luckily Galifianakis steals the show at every turn giving his first ever three-dimensional performance and earning all the attention he’s been getting lately.
Had its story been laid out ordinarily It’s Kind of a Funny Story wouldn’t have been nearly as affecting as it is. But a series of funky flashbacks quirky cut-scenes and animated sequences make the film’s otherwise predictable narrative abstract original and refreshing.
WHAT’S IT ABOUT?
G.I. Joe is a top-secret multi-national special forces unit comprised of highly-trained physically attractive military personnel from around the world. Equipped with the latest in superawesome vehicles and weaponry and guided by the tough but fair General Hawk they take on the baddest of the bad guys the kind of terrorists that scoff at conventional organizations. As the General himself so aptly states “When all else fails we don’t.”
That credo is put to the test however when a shadowy terrorist group armed with even awesomer vehicles and weaponry like crazy-ass laser guns and computer-guided zombie troopers infiltrates the Joes’ compound and makes off with a cache of four WMDs each of which is capable of leveling an entire city. Do the men and women of G.I. Joe have what it takes to defeat these menacing new adversaries before they mount their next devastating attack?
WHO’S IN IT?
It takes an elite group of actors to play an elite group of soldiers and the cast of G.I. Joe: The Rise of Cobra is stocked with an abundance of Hollywood’s most talented performers all adorned in various types of leather fetish apparel. White Chicks star Marlon Wayans plays Ripcord a flight specialist who can pilot any type of airplane even enemy crafts that respond only to voice commands uttered in Celtic. Channing Tatum star of Step Up and Step Up 2: The Streets plays his best pal Duke a badass infantryman who knows no fear. Preeminent ginger chick Rachel Nichols showcases her fiery crimson locks as Scarlett a shrewd intel expert whose stoic exterior hides a growing attraction to Ripcord. Barking out the orders as General Hawk is Enemy Mine star Dennis Quaid.
On the side of the bad guys is the Baroness played by Factory Girl star Sienna Miller in a push-up bra dirty librarian glasses and a raven-colored dye job. She’s the point woman for McMullen a shady Scottish weapons magnate played by Christopher Eccleston. But McMullen is no ordinary shady Scottish weapons magnate; he’s covertly amassed a huge terrorist empire headquartered beneath the polar ice caps. It’s there that “The Doctor ” a horribly disfigured mad scientist played by (500) Days of Summer star Joseph Gordon-Levitt concocts all sorts of diabolical new weapons and gadgets to unleash on the innocent.
Oh and there are ninjas too. Good guy Snake Eyes played by Ray Park wears sleek black body armor while the evil Storm Shadow played by Byung-hun Lee runs around in a updated version of Elvis Presley’s classic all-white jumpsuit.
Loaded with scene after scene of high-tech action-movie eye candy G.I. Joe: The Rise of Cobra assaults the senses with such a relentless barrage of over-the-top stunts eye-popping visual effects and stylized fight sequences that only the most coldly cynical of viewers will be able to resist submitting to its visceral charms.
As with most sugary indulgences the sweet dizzying high is followed almost immediately by a painful crash. Feelings of guilt and shame start to simmer as you kick yourself for yielding to such soulless gluttony. The next morning you awake with a throbbing headache and a heart filled with regret. The following day a doctor informs you that you have adult-onset diabetes. So in a nutshell G.I. Joe: The Rise of Cobra is the cinematic equivalent of adult-onset diabetes.
The scene where they have the big fight with all the advanced weapons and a whole bunch of stuff blows up. Oh wait that’s EVERY scene.
For the bulk of his performance Joseph Gordon-Levitt’s face is obscured by a bulky breathing apparatus and his voice is altered to sound like the computerized movie trailer's narrator. Which makes one wonder why they bothered to hire a name actor for the role in the first place.
As Love Actually begins we are told that perhaps the world isn't such a dire and hateful place that "love actually is all around." Around London anyway. The film explores no less than seven different romantic scenarios within the bustling British capital--all of which interconnect and eventually resolve on Christmas Eve. There's the newly elected dashing Prime Minister (Hugh Grant) who is smitten with his secretary the earthy Natalie (Martine McCutcheon); Karen (Emma Thompson) whose husband Harry (Alan Rickman) has strayed with his seductive secretary Mia (Heike Makatsch); Sarah (Laura Linney) the American wallflower who has a crush on her colleague Carl (Rodrigo Santoro); Jamie (Colin Firth) who falls for his pretty Portuguese housekeeper Aurelia (Lucia Moniz)…there are lots more but you get the gist. As love goes things may not get tied up neatly in brightly colored packages for everyone but there's still enough good cheer to spread around.
Showcasing some of Britain's finest actors Love Actually doesn't have a bad banana in the bunch. Floppy-haired Hugh Grant turns in an endearing performance and proves there isn't a romantic comedy he can't handle. He has an uncanny knack for connecting with any actress he happens to be romancing; in this case it's the adorable McCutcheon best known for the hit British TV drama EastEnders. Rickman and Thompson are quite good as the couple whose long-term marriage is beginning to crack; Thompson especially does a nice job trying to hide her pain while being a happy mom. Linney too shines as Sarah who glows with excitement when she finally gets what she so ardently wished for. Veteran stage and film actor Bill Nighy (Underworld) however steals the show as a carefree aging rock star desperate for a comeback. His Billy Mack smacks of Mick Jagger Keith Richards and Rod Stewart all rolled into one.
"I'm worried that we don't have the word 'massacre' in the title " writer/director Richard Curtis fretted to Entertainment Weekly referring to how horror-loving American audiences might not take to his new romantic comedy that is already a huge hit in Britain. True perhaps a romantic comedy starring a multitude of A-list British actors might not bring in the required masses. But who cares about the money (did I just say that)? Curtis who has written some of the best romantic comedies of the last decade including Four Weddings and a Funeral Notting Hill and Bridget Jones' Diary steps behind the camera for the first time here and is able to give each story a unique point of view from the lovesick to the wacky. There actually may be too many stories in Love Actually but it's a small gaffe. Love Actually is a refreshing good old fashioned warm and gushy movie that takes your mind off the bad things for the holiday season and Curtis should feel confident about his directing debut.