You know Judy Greer — the affable best friend/romantic rival/quirky shopkeeper from Elizabethtown, 27 Dresses, Lollilove, 13 Going on 30, Love and Other Drugs, Adaptation., American Dreamz... the list goes on. Though a comedy staple in film and television, Greer is unfairly stuck with the "supporting" brand time and time again. So what will it take for her to evolve to a lead role? To become a Hollywood blockbuster's center stage female — a heroine, an adventurer, a love interest for a brave knight? We've got it: she'll have to be a monkey!
RELATED: 'Amazing Spider-Man 2' Set Pics Reveal 'Office' Star in the Cast
Apparently, all it takes to kick Greer up in billing is a few extra opposable phalanges and an extra coat of body hair. The actress tells Vulture that she has taken a role in the upcoming Rise of the Planet of the Apes sequel, Dawn of the Planet of the Apes... as a mo-capped primate, in the vein of Andy Serkis' hero Caesar. But Greer won't be just any ol' bonobo — the Arrested Development vet is adopting the character Cornelia, the love interest for the central chimp.
RELATED: Original 'Godzilla' Star Will Appear in New Remake
The role was embodied in the first movie (in a much smaller capacity) by dancer Devyn Dalton; the addition of Greer could possibly suggest a dose of humor being injected into the Planet of the Apes follow-up. Hopefully, this isn't just a misdirect before Caesar realizes his one true love a the gibbon played by Jennifer Garner. We can hope that the Planet of the Apes-era Hollywood has a little more integrity than that.
So let us welcome Greer into the splendor that is Serkis' mo-cap world — here's a reminder of the trade's master, a video of Serkis talking his Rise of the Planet of the Apes performance back when the movie hit theaters.
Follow Michael Arbeiter on Twitter @MichaelArbeiter
[Photo Credit: Chris Pizzello/AP Photo]
You Might Also Like:15 Oscar-Winning Nude Scenes10 Insane 'Star Wars' Moments You Didn't Notice
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.
Spanning from WWI to the 21st century Eric Roth’s screenplay (based loosely on a 1922 short story by F. Scott Fitzgerald) tells the unique story of a man named Benjamin Button (Brad Pitt). He is born in New Orleans as a very old baby the equivalent of a man in his 80s who then ages backward into youth over the better part of a century. The film is told in flashback by a very old dying woman Daisy (Cate Blanchett) who recounts her tale to her daughter (Julia Ormond) from a hospital bed during Hurricane Katrina. Left on the doorstep of a retirement home one night by his father (Jason Flemyng) Benjamin is brought up by Queenie (Taraji P. Henson) who runs the place. While there he meets a young girl Daisy who will become a key figure -- romantically and otherwise -- in his life. Ben does have some grand adventures: He goes to work on a boat sees sea battles during WWII finds love with an older married woman (Tilda Swinton) -- and gets progressively younger as the decades fly by. It all manages to be alternately haunting romantic funny epic emotional and incredibly moving and will likely to stay with you a lifetime. Brad Pitt manages to deliver a thoughtful and subtle performance through all the special effects makeup and CGI. He does so much just by using his eyes. Cate Blanchett is equally fine as she plays Daisy from a teenager to an old woman and matches Pitt in bringing an entire lifetime skillfully to light. Her aging makeup is completely natural and she’s very moving in the hospital scenes opposite Ormond. Henson is just marvelous as Queenie a warm and understanding soul. Swinton is elegant and memorable in her few crucial encounters with Ben and plays beautifully off Pitt. Jared Harris (TV’s The Riches) as the colorful Captain Mike who hires Ben on his tug boat and Flemyng (The League of Extraordinary Gentlemen) as Ben’s father are also effective in their brief screen time. Interestingly Benjamin Button has been gestating for decades in the Hollywood firmament but needed time for the proper technology to catch up to it. Director David Fincher (Zodiac Fight Club) with his early background at George Lucas’ ILM proves to be the perfect choice to marry a compelling story with spectacular visual effects achievement. He did not want to do the film unless the technology allowed one actor to play the role throughout the course of the film. Remarkably they were able to achieve this superimposing Brad Pitt’s face and eyes into all the incarnations of Ben Button. In one sequence Pitt looks just like he did in Thelma and Louise. It’s an amazing feat. He has seamlessly created a unique universe without ever bringing attention to it advancing the art of screen storytelling leaps and bounds ahead of everything else that has come before. Benjamin Button is a plaintive and provocative meditation of life death and what we do while we are here. It’s the stuff of dreams.