War for the Planet of the Apes (2017)

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What have I done? Adapted loosely from Battle for the Planet of the Apes, this continues the saga in a reboot that, for this viewer at least, worked brilliantly in the first episode and not at all in the second (horrible cast, horribly shot). Matt Reeves however is back to direct this and it’s fierce, chilling and captivating, in every sense. Caesar (Andy Serkis) now has a psychological battle (against Koba) and an actual war against an American military whose renegade paramilitary California outfit (the Alpha and the Omega) run by the ruthless colonel Woody Harrelson imprisons apes in a quarantine facility aka work camp where parent apes are separated from their children.  Torture is random and regular while a collaborator ape, Donkey, brutalises his fellows. The allusions to the Aryan Brotherhood and Nazis are inevitable not to mention the theory of eugenics which originated in that great state. Caesar’s personal motive  is now revenge after his wife and younger son, Cornelius, are murdered in raids. He takes off with his own small band of brothers – orangutan Maurice (Karin Konoval), Luca (Michael Adamthwaite) and Rocket (Terry Notary) – and they rescue a little human girl whom they christen Nova (Amiah Miller) who has been rendered mute but is quite the brain. Then they find a seemingly witless addition to their group (Steve Zahn) who repeats the mantra ‘bad ape, bad ape’ but turns out to be quite the strategist. He’s been in hiding since the killer simian flu outbreak. This is quite a bleak but utterly compelling fast-moving narrative with one big scene (a tad too on the nose?) between Caesar and Harrelson in which the prototypical neo-Nazi lays out his reasoning (fighting a holy war for the future of mankind) and explains how he killed his little boy rather than have him disabled by this strange illness causing the loss of speech. Harrelson looks like he did in Natural Born Killers which is probably a reference too far. The crucifying of Caesar (and others) has clear Biblical allusions (water, desert, one rebel and his few followers) and the suffering can be tough to watch. But the action is at a cracking pace. This aspires to mythical qualities and has them in abundance. You might find there is resonance with the current political situation – in many territories – or that might also be a reference too far. Whatever. There is a great but deathly dangerous escape and a tragic sacrifice. You either roll with this or you don’t. I do! Written by Mark Bomback and Matt Reeves, adapting from Pierre Boulle’s source novel which started the whole thang.

King Kong (1976)

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Off to the ocean wave are we! Setting sail to exploit the untapped oil reserves on an undiscovered island – but lo! What have we here?! A beautiful scantily clad blonde (Jessica Lange) washed up in a dinghy, her life saved by walking out of a bad movie screening and managing to make good her escape from an exploding ship … Anthropologist Jack (Jeff Bridges) is mighty taken with her but when they meet the locals on said Indian Ocean island, a large wall indicates that all is not well. That’s when they meet Kong, the island god. And he’s a rather strapping fellow. But there’s a lovely white woman to offer in ritual sacrifice … Lorenzo Semple Jr (what a fantastic writer he was) adapted the screenplay from the Thirties classic (appropriately, one of my desert island faves, written by James Creelman, Ruth Rose, Merian C. Cooper and Edgar Wallace) but manages to make this its own beast, clarifying the tangled updated web of oil interests, (female) exploitation and animal welfare:  there’s no doubt whose side he’s on. The New York scenes are very well executed and the creature work by Carlo Rambaldi and Rick Baker is quite remarkable, a far cry from the CGI-fest of 2005. I’m with Pauline Kael on this one – it’s a comic strip romance that can make you cry. Take that, Tom Hiddleston, who recently stated (unironically uninformed perhaps) that his new remake is “uniquely set in the 1970s.” Bah, humbug, etc. No wonder Kong went on fire. Directed by John Guillermin.

The Jungle Book (2016)

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I was indisposed to the idea that the classic Disney cartoon would get a revamp. Part of my problem with photo-real animation is that when things get dark they get very lifelike and sinister indeed, as we found with the beyond-creepy Spielberg takes on Tintin and The BFG (where the villainous giant seemed like a big ole murderous paedophile). So when man-cub Mowgli gets separated from his wolf family and taken away to his own people by black panther Bagheera (Ben Kingsley) the shifts in tone from good nature (Baloo the bear, Bill Murray) to bad (Shere Khan the tiger, an almost incomprehensible Idris Elba) are very jarring. The musical interludes while entertaining seem like they’re dropped in from another movie. Overall however, it has to be admitted that it all works out in the end. Good stories are sometimes immune to strange interpretations. And how nice is it to hear Garry Shandling voicing the porcupine?  Written by Justin Marks, directed by Jon Favreau.