Ohjaus:
Matt ReevesKuvaus:
Michael SeresinSävellys:
Michael GiacchinoNäyttelijät:
Andy Serkis, Jason Clarke, Gary Oldman, Keri Russell, Toby Kebbell, Kodi Smit-McPhee, Kirk Acevedo, Judy Greer, Nick Thurston, Terry Notary, Jon Eyez (lisää)Suoratoistopalvelut (5)
Juonikuvaukset(1)
Uudessa toimintaelokuvassa APINOIDEN PLANEETAN VALLANKUMOUS Caesarin johtama kasvavava joukko geneettisesti muunneltuja apinoita kohtaa todellisen uhan, kun tappavasta virustartunnasta selvinneet ihmiset nousevat vastarintaan. Apinat ja ihmiset saavuttavat hauraan rauhan, jonka rikkouduttua osapuolet ajautuvat sotaan koko maapallon herruudesta. (SF Film Fin.)
(lisää)Videot (27)
Arvostelut (14)
People. Apes. Hominids. Mammals. Scum. Everybody. Speak. Lots. CGI. Lots. Blockbuster. Thought. Seemingly. Superficial. Black and white. Too simple. Half-assed. First. Better. Suspense. Subliminal. Silence. Storm. Sequel. Different. Very. Overtone. Current. Inevitability. Pretend. Worse. No. Better. Different... And as a bonus to the short-spoken speech of animals, you get the origin of the shrew legal loophole in the apish lawbook committed on Rambo the Ape.
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Dense, emotionally very rich, layered, fun and charming work with effects and "inhuman" protagonists, who take most of the space from their counterparts made of flesh and bones, which we simply don’t get to see that much (a slightly "sketched" Oldman, for example). Reeves has a more distinctive style than Wyatt, and it must be said that the use of long steady cam rides or a static camera in a few larger action sets is very refreshing, while giving the world of Planet of the Apes a prudence that goes beyond frenetic blockbusters. The tricks do not act as a self-serving tool for arousing astonishment, but rather as a deft means of characterizing characters with limited ability to express themselves verbally. In the same way, the action forms part of a compact and intertwined whole, which is characterized by surprisingly sensitive work with a detail of a monkey's face (not only a symbolically mirrored introduction and conclusion), but the film is brought down a bit by some partial clumsiness in the narrative. The film does not focus on simply entertaining, but truly strives to create a functioning universe, the possibilities of which deepen with each film. Also exciting is the way in which it "distributes" sympathy for "non-people" and makes them the bearers of our own historical dilemmas and failures (Caesar and Koba - sic! - as two faces of the revolution and the effort to create a functioning community). That's why Planet of the Apes is currently the most interesting "running" blockbuster series and Dawn of the Planet of the Apes is a film that stands out enough in this year's fierce competition to call it the best high-budget affair thus far. For me, it’s even a bit more convincing than the first film. [90%]
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A few minutes of over-digitalized introduction suggests that the second instalment bet on a completely different horse than the first part, where digital monkeys complemented an emotionally charged and dramaturgically sensitive story about people and the place of animals in the human world (and vice versa). It was a cleanly made film in the Spielberg tradition. The second film drowns in digital effects, is action-packed and, following the current trends set by Nolan, visually dark. Which in itself might not hurt if all of its characters had a meaningful place in the story and if it didn’t provoke emotions with cheap sentiment. I really expected more from Matt Reeves than a mere flashy but empty blockbuster.
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Second part of this modern trilogy about a planet that is more monkeys than humans, I actually got by accident. Nothing else was on TV, so why not give it a try. But if nothing else, at least the advertising for Hollywood is adequate. Technically fine, actually quite good at times, but I just didn't enjoy the story. During the movie, it is completely clear to you that the cooperation between monkeys and humans cannot last long. There is no tension, just functional action scenes. Even in terms of acting it doesn't captivate you, and so I ended up with three stars, a more lenient rating than the first part of this trilogy.
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This time there’s no CGI in the service of perfectly crafted emotions, honest monkey looks, and precise directorial construction of a simple plot, as Reeves sees the film's basic thrust on the exact opposite spectrum of blockbuster rules. Work with the characters is at zero, and plot predictability is at the max. As the minutes ticked by, I honestly felt so bad for every moment I guessed in advance that I wanted to turn in my movie ticket and get my money back. Fail of the year.
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