Rise of the Planet of the Apes

2011, 12, Directed by Rupert Wyatt
Starring: James Franco, Andy Serkis, John Lithgow, Freida Pinto

In 2001, Tim Burton revamped the Planet of the Apes saga with a remake of Franklin J. Schaffner's 1967 classic; he also seemingly cremated it... Marky Mark Wahlberg (thankfully now emerging from a bout of seriously poor decisions) proved no match for Charlton Heston and his loincloth.

So it remained that with Twentieth Century Fox's decision to dig up the once-unstoppable series (the original spawned four sequels and a television show), one couldn't help but question why. Well to begin with, this was to be - not a sequel to Burton's butchering or, worse another remake in a time obsessed with the blighters - but a prequel. A wise, extremely savvy decision. Another reason for excitement emerged through the adeptly-conscious decision to employ Brit Rupert Wyatt, unheard of by the masses but silently respected due to little-seen indie The Escapist - a similar fashion bravely launched by Warner Bros for their Chris Nolan Batman reboot in 2005. Somewhat surprisingly, the dividends paid then are as present here: yes, the clunkily-titled Rise of the Planet of the Apes (and breeeathe) is prophetically the unlikely success story of 2011.

Amidst the gaggle of sequels and out-and-out reboots, it is pleasing to notice the addition of a freshly produced prequel that breathes new life into an intriguing universe. That isn't to say that there are no references to previous outings, with more than enough knowing nods to excite the die-hards and tantalise the first-timers. The plot, as you may have guessed, pits the initial rise of those damned dirty apes. Focus is on young ape Caesar who is brought home and raised by Dr. Rodman (Franco), a scientist who uses monkeys in an attempt to discover a cure for his father's alzeihmers (a genuinely affecting John Lithgow, doing damn well to shed his Dexter induced Trinity Killer image). This causes Caesar to inhabit signs of enhanced intelligence, a problem as he grows larger and naturally more aggressive. Being handed a large budget has proved no issue for Wyatt, with set-pieces impressing (a montage sequence of Caesar's evolution particularly dazzling), however Rick Jaffa and Amanda Silver's script is weighed down by scientifc hocum-pocum and expendable characters, troublesome as tension mounts. Thankfully, this is more than compensated for in action - which leads nicely onto the film's highlight: Andy Serkis, proving once and for all that Weta's motion capture (used famously by Serkis himself for Lord of the Rings' Gollum and King Kong, as well as Avatar's Na'vi) is more worthy of an acting statuette than most annually nominated. With every pang of Caesar's anger at a volatile neighbour confronting his owners or despair at being left behind in a primate facility with a vicious Tom Felton (destined to never play a nice guy) for company, as an audience it is strongly felt. Wyatt embraces everything Serkis brings to the role paving the way for several scenes where silence prevails and the monkeys are left to interact through movement: enticing, heart-warming and damn refreshing - these scenes contain more substance than any you will see all year.

This is where the film soars. So much so, unfortunately that as the film reaches its jaw-dropping hectic climax, there is some confusion as to who you are supposed to be rooting for (although it's quite clear who you will be). Luckily, this does not deter from the enjoyment of a rebooted franchise that has against all the odds just reached its prime(ate).

Not only will apes be rising, but ticket sales too.

4/5

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Cars 2

2011, U, Directed by John Lasseter and Brad Lewis
Starring: Larry the Cable Guy, Owen Wilson, Michael Caine, Emily Mortimer

Although back in 2006 Cars didn’t break any Pixar records, it sure has endured as something of a merchandising storm – so much so that the presence of the beloved characters (something that Pixar are unrivalled in creating) combined with head honcho John Lasseter’s personal involvement led to the animation studio’s second sequel. Instead of retreading a formula however, the engine is revved and the stakes are upped. Not only are we based in Radiator Springs, the rediscovered lost town from the first film, but on a full-speed trip around the world where three-time Piston Cup champion Lightning McQueen is battling to win the World Grand Prix. What seems like a straightforward contest soon uncovers itself through tag-along Mater who embroils himself in a covert spy operation, led by Finn McMissile (Caine). Whilst the first film didn’t set critics eyes ablaze upon its first visit, it still remains a brave decision to make this so different – what Cars ironically lacked in fast set-pieces was more than compensated for in character. The gear stick is completely shifted here; and this is where Cars 2 is in danger of rolling backwards down the hill it has so far cruised up.

Where the first one was said to have stalled, this one races ahead and is in fear of leaving audiences trailing behind. Focus is now on Mater, the goofy but loveable tow-truck friend of McQueen and the credible voice work ensures Mater doesn’t frustrate, but endears (note how Larry the Cable Guy takes lead credit here from Owen Wilson). The true joy of Cars 2 is not what appears on the surface but the surrounding detail. Pixar are well-known dab hands at planting things within the frame that take a few watches to manifest themselves. Combine this with the adventurous quality at play and you have a Pixar sequel that doesn’t sustain the greatness of its predecessor (like Toy Story 3 effortlessly managed to do) but provides enough charm to convince as a rollicking fun ride. Reserve your parking space now (admit it, you smiled).

3/5

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Cars

U, 2006, Directed by John Lasseter and Joe Ranft

Starring: Owen Wilson, Larry the Cable Guy, Paul Newman, Bonnie Hunt

After reaching such stratospheric success not only critically, but commercially with the Toy Story’s and Finding Nemo - amongst others - an increasing amount of pressure is layered onto whatever Pixar decide to do next. Back in 2006, John Lasseter – the main man behind the creation of Woody and Buzz – introduced the world to a universe that doesn't feature toys, monsters or superhero families – but cars. In doing so, he unveiled probably Pixar’s most underrated outing to date. The plot follows racing car Lightning McQueen (a character now possibly in every young boy’s toy collection) who is en route to California to race a tie-breaking match for the yearned after Piston Cup. However, a turn of events leads him away from the interstate and towards Radiator Springs, an abandoned town that is home to a quirky set of car-acters; these include slow, southern-drawled Mater, the most loyal tow truck the big screen has seen, as well as grouchy Doc Hudson (voiced by Paul Newman in what was to be one of his last roles).

Granted, Cars lacks the immediate spark that previous Pixar efforts effortlessly emanate, but it would be unfair to judge what Lasseter deems his most personal film on previous successes. This is one hell of a slow-burner, with the script containing more than a full tanks worth of adult-aimed witticisms than first remembered. With the emphasis usually on characterisation (and pitch perfect voice casting), Pixar here raise the bar visually, evidenced no more than in the opening race sequence. The attention to detail is overwhelming and creates such a well realised universe that it is impossible not to be charmed by the entire thing. It really is up there with the ocean in Finding Nemo or the barren landscape of Wall●E. Although the film runs out of gas towards the end, there are enough lovely moments to keep you smiling and caring about the outcome. It comes as a surprise the extent to which Cars engrosses you; although this animated team makes no secret about wanting the audience to be snivelling into a tissue come the credits, you are caught off guard a few times here (a scene towards the film’s close beautifully pits in true Pixar fashion the importance and power of friendship) as a lump in your throat emerges. Strangely, Cars improves on re-watch – and only then will you agree with me that this film deserves more recognition. Not as obviously amazing as any of its predecessors, this is still top stuff.

4/5 

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Harry Potter and the Deathly Hallows: Part 2

2011, 12, Directed by David Yates
Starring: Daniel Radcliffe, Rupert Grint, Emma Watson, Jim Broadbent, Helena Bonham Carter, Robbie Coltrane, Warwick Davis, Tom Felton, Ralph Fiennes, Michael Gambon, George Harris, Ciarán Hinds, John Hurt, Jason Isaacs, Katie Leung, Matthew Lewis, Evanna Lynch, Kelly Macdonald, Helen McCrory, Gary Oldman, Alan Rickman, Maggie Smith, David Thewlis, Julie Walters, Bonnie Wright

Harry Potter has officially integrated itself into British institutionalism. Love him or loathe him, the scar-wearing schoolboy has been as popular as popcorn over the past decade where cinema trips are concerned. Four directors of very varied calibres stretched across eight films and – reminiscing over an epic effort – it is clear that the seriesrarely showed any real signs of flagging. As long as the magic was alive, the ticket sales were too.

So it remains that David Yates’ second part of the final JK Rowling novel adapted doesn’t necessarily need to be a great film in order to suck people into the phenomena on display for only a little while longer; this saga is leaving on the Hogwarts Express never to return. Luckily for us all, Yates still strays from dreaded cash-in, instead opting for the tougher task of pleasing fans and unfamiliar folk alike – something which the series has always seemed to shy away from.

Picking up precisely where Part 1 left off, Voldemort (we can say his name now) is in possession of the Elder wand, the most powerful wand the world has seen, whilst Harry and pals are halfway through ‘Operation: find and destroy Horcrux’. A consciously slow start builds on character and reference to moments of old which was always going to strongly evoke nostalgia: Harry going to Gringott’s for the first time; Harry choosing his wand for the first time. These are both referred to and then brutally merged into the same thought of the increasingly more likely chance that Harry Potter is going to breathe his last breath very soon. As John Hurt’s Ollivander points out, he doesn’t stand a chance.  It certainly feels this way. The Harry Potter films have always managed to unnerve and create levels of tension when most necessary – and only now can you reflect that this has been key to the film’s success. Ralph Fiennes’ Dark Lord is a truly fearsome foe. Okay, he may look kind of naff, but his maniacal expressions are enough to put the laziest person on the edge of their seat.

Characters seen, but not heard of late come to the fore in light of the oncoming war, and it is through these interactions where you realise just how much this series and its truly amazing characters means to you (an immortal line uttered early on by Professor McGonagall will have you aww'ing). The scope of the battle – all fans of the novels will be delighted to note – is fully realised and encapsulated to the most epic scale imaginable. Effects scintillatingly dazzle on-screen, sets close to people’s hearts are devastatingly destroyed in an instance, beloved characters are flippantly dispatched... It is through these moments where the decision to split the last book into two is fully justified; Deathly Hallows: Part 2 has more action than the entire series clumped together, but more heart too...

As the ending inevitably draws closer, cliché is unfortunately inescapable. Forced to embrace this, it is dealt with coolly (and funnily) and fits in as well as it can. The only other flaw that comes to mind is a later highlight on the action, meaning a classic moment from the novel involving Molly and Bellatrix is condensed into an underwhelming 20 seconds. In the grand scale of things (emphasis on grand), these niggles are irrelevant. The performance here drawn from the man himself Radcliffe is light years away from the awkward teeny-bopper who adorned our screens a decade ago, with Grint and Watson ever capable by his side. It is an honour to witness what fine performers they have evolved into: the curse of the child star is destined to end here (special mention also to Matthew Lewis and Evanna Lynch as the heroic Neville and kooky Luna; Tom Felton also proves there might just be life after Draco). As for the large remainder of true talent the films have always been keen to display, it would be a sin not to mention the superstar of the entire thing: Alan Rickman, who embodies Severus Snape as much as any actor could ever become their counterpart. A constant
underlying force throughout, Rickman provides yet another subtle powerhouse performance that packs one hell of a gut punch. Kudos.

Yes, Harry Potter is a British institute (grossing sales prove that it trounces Bond) – judging by this final push (and the applause at the end of my midnight screening), the box office sales and recognition has wholeheartedly been deserved. Moreover, not only does Deathly Hallows: Part 2 do JK Rowling’s concluding modern classic proud, but proves that a great, gargantuan, gripping Harry Potter film can be under 2 and a half hours; magic, it seems, must exist.

4/5

Cheers for it all, Mr Potter. It's been... wand-erful



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HP retrospective #6:

Harry Potter and the Half-Blood Prince

2009, 12, Directed by David Yates

Starring: Daniel Radcliffe, Rupert Grint, Emma Watson, Jim Broadbent, Helena Bonham Carter, Robbie Coltrane, Tom Felton, Ralph Fiennes, Michael Gambon, Matthew Lewis, Evanna Lynch, James Phelps, Oliver Phelps, Alan Rickman, David Thewlis, Julie Walters, Mark Williams, Bonnie Wright

The final stand-alone film before the two-part finale, Harry Potter and the Half-Blood Prince, David Yates’ second directorial effort of the series, is an inescapably flawed film. After the thrill ride that was Order of the Phoenix, spliced intermittently between attacks from the Death Eaters and journeys into new Potions professor Horace Slughorn’s past experiences with Tom Riddle are slow, brooding scenes where Harry and Ginny stare at each other awkwardly. If you care to put up with these, the film is actually a worthy adaptation (bearing in mind a lot is omitted again – in diehard fan's eyes, the most sacrilegious of this being the way Harry witnesses the death at the film's climax, when in the novel he did not. Alternatively, a striking opening scene – which sees the Death Eaters tear up and destroy landmarks in London – are worthy breaths of fresh air.) It is Yates’ obvious initiative on display that make his films a cut above the earlier ones in the series, tackling the hurdles thrown at him with relative ease. Due to the pitch blackness of the ending, it is difficult to recall how funny this actually is: Weasley's Wizard Wheezes; Parker’s pining for Ron is priceless, as is Jim Broadbent’s Horace Slughorn (the latter able to switch to serious effortlessly). Slughorn is an odd creation for he serves an important purpose and fills up plenty of screen-time, yet does not linger in the memory like Lupin or Umbridge.

Reflecting upon the Harry Potter saga, it becomes clear that this is the last film to feature Harry, Ron and Hermione in Hogwarts as a permanent fixture. This means that this is watched best revelling in the settings we have grown accustomed to, as well as the familiar faces. Alan Rickman steps things up yet another gear as Severus Snape who is forced to take an Unbreakable Vow that he will protect Draco Malfoy who is going about Hogwarts performing the bidding of the Dark Lord. Loyalties are firmly established, sides are prepared and Horcruxes are introduced. At one point, Dumbledore tells Harry he has forgotten how much he has grown – he still sees him as that young boy living in the cupboard under the stairs. Their relationship hits home and when the inevitable happens and ‘Avada kedavra’ is shot at a vital character, the cogs are set in motion for the final chapter. This really is a precursor to Deathly Hallows, and as the film closes, just like Harry you know that nothing will be the same again; the end is coming… and there is no way on but forward.

3.5/5

Best Moment:

Tied. Dumbledore tells Harry he needs to force him to drink the contents of a fountain, no matter what occurs. Taking a sip, he slips into a fit and as Harry force feeds him the drink, Dumbledore begs him not to continue, screaming ‘Kill me!’ It is a state we have never seen the ever-capable headmaster in and chills to the bone, played agonisingly by Michael Gambon. Another is when Harry hs just witnessed Snape kill Albus – running after him, feeling betrayed: ‘He trusted you!’ he screams. Powerful

Defence Against the Dark Arts Professor:

He thought his day would never come, but Severus Snape is the honoured one to take this position.

Best Character:

Bellatrix Lestrange; as Harry takes after her to avenge the death of his godfather, she bumbles along, taunting Harry, whilst singing to a tune, ‘I killed Sirius Black!’ An absolutely despicable person, as a character played by Helena Bonham Carter, she is everything you want a villain to be; a child-like maniac who throws killing curses around like ‘hellos’. After Dumbledore has been killed, Bellatrix takes to destroying the Great Hall and Hagrid’s hut in elation

Best Line:

Harry Potter: Did you know, sir? Then?
Albus Dumbledore: Did I know that I just met the most dangerous dark wizard of all time? No.

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HP retrospective #5:

Harry Potter and the Order of the Phoenix

2007, 12, Directed by David Yates

Starring: Daniel Radcliffe, Rupert Grint, Emma Watson, Helena Bonham Carter, Robbie Coltrane, Tom Felton, Ralph Fiennes, Michael Gambon, Brendan Gleeson, Jason Isaacs, Katie Leung, Evanna Lynch, Gary Oldman, Alan Rickman, Maggie Smith, Imelda Staunton, David Thewlis, Emma Thompson, Julie Walters, Mark Williams, Bonnie Wright

Harry Potter was only getting bigger and tougher to adapt as the series went on… With each film, more characters were introduced with even more returning and the opportunity for big moments where acting heavyweights share screentime with others more likely. David Yates grasps the directorial reigns here, remaining indebted to the role until the films reach their final destination this Friday. Yates, largely known for his work on British TV, was an incredibly brave if gratifying decision, a veteran in condensing his work into a limited screen time – a necessity in the case of mammoth Order of the Phoenix novel. This is the Harry Potter where the Ministry of Magic attempts to suppress the return of Lord Voldemort by indoctrinating Hogwarts with Ministry bigwig and new Defence Against the Dark Arts professor Dolores Umbridge, played by a simply marvellous Imelda Staunton. Dressed smartly in pink tweed and surrounded by pictures of cats in her office, sipping on a cup of tea, Umbridge enters a location we feel comforted by and sets to gaining order in such a way that shakes it all up. Moreover, she interacts with characters she sees as inferior in a disgusting manner (how dare she speak to McGonagall like that?!) In fact, Dolores is so brilliantly played to perfection by Staunton that you wish you were in the film squarely to put an end to her grotesque ways; upon reflection, she is as villainous as Voldemort, for her actions (which includes – in one of the films more memorable moments – forcing Harry to write ‘I must not tell lies’ with a pen that etches the line painfully onto his wrist, as well as forcing to use the Cruciatus curse on students) – at least You-Know-Who knows he is evil!

Aware that they are in danger and even more susceptible to it due to the Ministry’s insistence that they are safe, Dumbledore’s Army is formed, in which pupils in Hogwarts train themselves up for an inevitable battles with the Death Eaters; this provides the younger cast with a chance to shine. As usual, Radcliffe, Grint and Watson evolve as they do with every film, but it is newcomer Evanna Lynch as the kooky, sweet-as-hell Luna Lovegood who is the show stealer. There are some set-pieces filled with hilarity in Order of the Phoenix: Filch, in awe of Umbridge, clocking onto the Army but not quite sure where they convene as they run rings around him; a gigantic disruption in the Great Hall courtesy of Fred and George, much to Umbridge’s dismay. But regardless of these moments, there is an uneasy tone prevalent throughout fuelled by the climax of the previous film. The film opens with Harry in danger for the first time outside of the magic world, as Dementor’s attack him and vulgar Vernon. Dumbledore – a safe and encouraging figure amidst the chaos – distances himself from Harry entirely. Even the Ministry’s persistence that Harry is lying about Voldemort’s return leaves a feeling of solidarity in which you truly fear for Harry’s safety, especially when Umbridge manages to usurp Dumbledore’s power and becomes Hogwarts’ headmistress. Harry’s unstable mind as he struggles to deal with what is occurring, as well as the danger that is surrounding him and his friends is something that is manifested through stylistic dream sequences which, quite frankly, scare (A moment in which Harry walks through the 12 Grimmauld Place cranks up the tension effortlessly, which culminates in a door opening and Hermione lunging herself at her best friend). These mixture of feelings are strangely emotive.

As the film draws to a climax and Dumbledore’s Army translate what they have learnt into battling the Death Eaters in the Department of Mysteries, the octane is higher than it has ever been before. In fact, it is quite a shock to note that this is the first bout of full-on magic duelling Harry Potter has seen, which is more than made up for by the Dumbledor Vs. Voldemort duel which not only drops the jaw, but dazzles on screen. David Yates captures everything in an un-confusing manner that makes complete sense (you’re always in the know of which spell has been fired from whose wand) and creates an unnerving amount of tension, which albeit ends in tragedy for one of the best characters the series has seen (and the departure of the simply amazing Gary Oldman). As the film draws to a close, it will hit you how – even though JK Rowling’s story and universe are key to Harry Potter’s success, at the crux of the film are the performances that bring her creations to life. It just so happens that inspired casting (Staunton, Helena Bonham Carter as the maniac Bellatrix Lestrange) and interaction that sets the screen alight make this arguably the best Potter film…

…and if I’m wrong, I will etch ‘I must not tell lies’ onto my wrist.

4/5

Best Moment:

That duel between Dumbledore and Voldemort. You wait 5 films for action and get more than you bargained for. A classic moment.

Defence Against the Dark Arts Professor:

As if we haven’t spoken enough of her, Dolores Umbridge – the most evil ‘nice’ person perhaps ever; all she wants is order!

Best Character:

Severus Snape – I admit defeat, ok? His Occlumency lessons with Harry, in which he attempts to train Harry to protect his mind from Voldemort’s possession is one of the many highlights of this film.

Best Line:

Harry Potter: He’s got Padfoot! He’s got Padfoot at the place where it’s hidden!

Dolores Umbridge: Padfoot? What is Padfoot? And where what’s hidden? What is he talking about, Snape?

Severus Snape: (pause) No idea…

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HP retrospective #4:

Harry Potter and the Goblet of Fire

2005, 12, Directed by Mike Newell

Starring: Daniel Radcliffe, Rupert Grint, Emma Watson, Robbie Coltrane, Tom Felton, Ralph Fiennes, Michael Gambon, Brendan Gleeson, Jason Isaacs, Roger Lloyd Pack, Robert Pattinson, Clemence Poesy, Miranda Richardson, Alan Rickman, Maggie Smith, David Tennant, Frances de la Tour

David Heyman has openly expressed his dismay at some key moments from The Goblet of Fire novel finding room on the not-so lonely cutting room floor, however understands that for the films not to outstay their welcome, anything deemed unnecessary or integral to the overriding idea cannot find room in the film… and so the director tasked with the tough job of adapting arguably the best of JK Rowling’s modern classics is Brit Mike Newell. Like Cuarón before him, he set aside particular time at asserting his mark not only by omitting memorable moments but shortening them also by way of stylistic jump-cuts (admittedly impressing – look no further than the scene in which Harry snatches the egg in his first event of the Triwizard Tournament, when the shot cuts immediately to the egg in Harry’s grasp as he parades it in front of his Gryffindor peers in the common room). However, the Quidditch World Cup was always something fans, big or small, were excited to witness visually – so its absence is criminal and downright disappointing. Similarly, the complete removal of the Dursley’s causes the film to feel incomplete…

It seems Newell focused more on the route of establishing the overarching villains of the piece through the Death Eaters attack on the fans flocking to the World Cup (who include glistening-haired Lucius Malfoy and the snivelling Peter Pettigrew), thus setting up David Yates’ final films perfectly. This Newell does well, with the ending not only tantalising future instalments, but disturbs as Ralph Fiennes makes his first appearance as the Dark Lord… just stop to that that Voldemort and his army are a group of adult lunatics who kill mercilessly, not only people their own size but teenagers like Cedric Diggory (played here by a pre-Twilight Robert Pattinson). When Harry’s name is read out of the Goblet of Fire, everybody turns against him Too young to compete, Harry is adamant that someone else placed his name inside. Not only is Harry forced to battle Hungarian Horntail dragons, Merpeople and bewitched murky mazes, but his own best friends who turn against him amidst this revelation.Lucky he has new Defence Against the Dark Arts teacher Mad Eye Moody ‘assisting’ him along the way (the twist that throughout the duration of the film that he is actually Barty Crouch Jr swigging Polyjuice Potion the entire time is dealt with well).

As with Prisoner of Azkaban, number four feels like it occurs in a completely different sitting to Columbus’ films – Hogwarts feels more like an average school: Harry and Ron bicker, as they both attempt to woo some females, written work occurs as well as bullying, Hermione becomes hormonal over Ron not asking her to the Yule Ball… even everybody’s hair is longer. Not even magic can change those things, it seems. But as it stands, Goblet of Fire doesn’t even come close to exceeding the standard of the book, but does succeed in depicting Voldemort as an undeniably fearsome foe beyond being able to be reckoned with, which is the most important thing when all is said and done.

3/5

Best Moment:

Harry and Cedric run for the Triwizard cup and deciding to claim it simeultaneously, are transported to a graveyard where an Avada Kadavra dispatches Cedric and a drop of Harry’s blood is the final part of You-Know-Who’s rebirth. Chilling

Defence Against the Dark Arts Teacher:

Alastor ‘Mad Eye’ Moody – in his initial appearance here, he is locked in a charmed chest. Barty Crouch Jr parades around as him assisting the Death Eaters in pushing Harry to that graveyard. He does become a really likeable character though…

Best Character:
This time it jointly goes to Albus Dumbledore and Minerva McGonagall – one, because it would be unfair if they were not to feature her, but secondly because they play their roles so well they fit into everything so seamlessly.

Best Line:

Albus Dumbledore: Dark and difficult times lie ahead; soon we must all face the choice betweenw hat is right and what is easy



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