Rise of the Planet of the Apes

Genetically enhanced apes revolt and run amuck thanks to geneticist, James Franco. The notion alone is enough to elicit snickers and eye rolls. The entire premise of the Planet of the Apes franchise is entrenched in Sci-Fi giggledom. Humans dressed up in simian makeup, riding horses and subjugating primitive human-culture led by Charlton Heston is best known as kitschy, 60s camp. Hollywood most recently took a stab at a remake with Tim Burton’s (mostly) straightforward, if oddly generic, retooling in 2001. Wisely eschewing continuity with Burton’s film, Rise of the Planet of the Apes is a 100% reboot, starting from scratch and rewriting the primate history as a sort of cautionary tale of a scientist’s noble intentions gone, well, ape.
The film builds with a restrained attention to pace. There are very few mindless action scenes, no on runs through crowded streets jumping on cars or dodging traffic. Instead, the relationship between Franco’s Will and his chimp/adopted child Caesar. As Will continues to develop a cure to his father’s Alzheimer’s, his bond with Caesar grows. Eventually, due to a rather violent accident, Caesar is shipped to a primate holding facility where the seeds of revolution are planted.
Eventually, the premise washed over me and took me away, in part due to the nifty CG ape, Caesar. Filmed using motion capture and brought to life by Andy Serkis, Caesar is one of the strongest characters in the movie. Alas, as the premise builds, the apes finally attack on the Golden gate bridge. The action felt at once overdue and underwhelming. They jump, they climb, they YELL, they throw things. The humans shoot their guns, they sling their batons. I didn’t know who to root for. The apes in revolt or the dumb humans – knowing the trajectory of the franchise, you know the outcome before the movie even starts.
Of course, a new franchise is in mind and the film has a rather clever way of setting up the next film. Rise was made on a (relatively) modest budget, but given the financial success I’m guessing the subsequent films will receive a bigger budget. This usually equates to more apes, more fights, more scope, more scale, but probably will lose the emphasis on relationships that makes this movie so successful.

Captain America: The First Avenger

The summer of Super Heroes continues. Quick refresher: Thor, X-Men, Green Lantern. Some hits, some misses, some so mediocre I can’t remember what happened during them. And now we have the First Avenger – technically speaking I think Iron Man beat Cap to the punch but that’s neither here nor there.
Steve Rogers is a literal 90-pound weakling. He’s small and frail, but scrappy as hell. He may look like you can snap his neck but he has determination like no other! It’s that spark that draws Dr. Erskine to enlist Rogers in an experimental program turning him into a Supersoldier. Soon, a villain known as Red Skull appears and threatens our freedom – not if Captain America has anything to do about it.
The concept itself is nothing far off-base from your usual superhero pages. Captain America, however, has a different feel to it that sets it apart from other films in the genre. Everytime I see a superhero movie, I expect to be wowed from start to finish with explosions and effects. I practically crave having my breath taken away – yet Captain America has the plotting and staging of a smaller film. There are explosions and fights and computer generated effects out the wazzoo, that’s for sure, but there is also time talk, to plan, to reflect and to interact. There really is no big aw-gee setpiece that knocks your socks off, but instead the action happens in fits and starts. When you adjust your expectations accordingly, you’ll find a more rewarding experience.
Joe Johnston, who most recently directed the gory, effects-laden Wolfman, has imbued the film with an old-school 1940s feel. Had he not balanced the tone between campy and earnest, the whole film could have been and slipshodden, patriotic mess. Making sure the audience really feels like they are in the 40s, however, makes Rogers’s unwavering dedication to his country more digestible.
Chris Evans, in the title role, has a very wholesome, steely all-American look that makes him perfect for the role. He pants, he runs, he smacks bad guys with his shield with aplomb. Hayley Atwell as his British female partner is plucky and feisty and does her best to not be a damsel in distress. Hugo Weaving, however, steals the show whenever his red-skulled Johann Schmidt struts on screen. Weaving has a way of taking his dialogue and coating it in molasses – drawing out words and growling them with frightening menace.
Going into Captain America I had reservations: a grown muscled man draped in the America flag throwing a red, white and blue shield at Nazis? A bald, walking skull dipped in Firetruck red paint? Luckily, my fears were assuaged by the care and respect and touch of winking wit in the film.
The sequels have been all but guaranteed. In fact, production on The Avengers, the Marvel super team that includes Iron Man, Thor, Hulk and the aforementioned Captain, is well underway under the guidance of Buffy the Vampire Slayer creator Joss Whedon. It’s hard to say whether future films starring Cap will be successful – we all had high hopes for Iron Man 2…until it came out. I, for one, will be crossing my fingers and holding my breath until May 2012 rolls around and we see if Marvel’s efforts pay off.