James Franco, as smugly self-satisfied as ever, develops a cure for Alzheimer’s. Unfortunately he also manages to bring about the apocalypse. Dude… Not cool.
This movie has been almost destroyed by its unusually long TV spots, which added to the cinema trailers that consisted solely of plot points and thematic statements masquerading as dialogue, leaves precious few surprises for cinema viewing. Franco’s scientist makes a breakthrough on a drug which repairs cognitive functioning in one chimpanzee, however, when she runs amok the entire research programme is canned. Everyone’s favourite slacker Tyler Labine doesn’t have the heart to put down the baby that chimpanzee had been protecting and so gives it to a reluctant Franco. Franco raises it at home where he discovers that it has inherited the effects of the drug, resulting in super-intelligence. Eventually he decides to test the drug on his own Alzheimer’s stricken father Charles (John Lithgow). Frieda Pinto’s vet warns him about messing with nature, but he convinces his boss Jacobs (a nicely cavalier David Oyelowo) to allow him develop an even more potent strain…
There are similarities with this week’s other chimpanzee release Project Nim, as Caesar is raised in a human setting, and shown using sign language and displaying very human traits, before his increasing viciousness sees him abruptly removed to live with chimpanzees who ostracise him. But this is a wild animal, a point made needlessly nastily when Caesar very deliberately bites off and eats a man’s fingers when attacking the angry next-door neighbour to protect a confused Charles. Caesar’s incarceration is interesting as Caesar is subjected to humiliation as the new inmate before using his superior intelligence to rise up the food-chain. It’s like watching Audiard’s A Prophet in a zoo. I’ve said it before but Andy Serkis is an unappreciated marvel as he does so much acting work in motion-capture. His performance as Caesar is wonderfully nuanced; you can see in his eyes the dawning of responsibility for his fellow less smart primates. John Lithgow does wonders with the material he’s given, though his transformation from mangling ‘Clair de Lune’ to concert pianist as the Alzheimer’s drug works is tasteless in its emotional manipulation. Characterisation isn’t this film’s strong point though. Frieda Pinto in particular has a barely written character.
There are a number of deliriously showy moments by director Rupert Wyatt, such as the montage of Caesar climbing a giant redwood that takes us thru 5 years in about a minute (please copy Terrence Malick), a panning shot thru a building as the apes rampage thru office space before tumbling onto the street, Jacobs entering a deserted building and not noticing what’s above him (a homage to The Birds), and a delightfully Spielbergian touch in the first arrival of the evolved primates in San Francisco being conveyed by a sudden gentle rain of loose leaves onto the joggers on a suburban road. Other highlights are an iconic line from the 1968 original, a hilarious moment when the signing circus orangutan gives the raspberry to Caesar’s grandiose plans, and a startlingly well-staged action finale on the Golden Gate Bridge.
This is a vast improvement on Tim Burton’s 2001 disaster but while it features a number of showy moments, and a nicely choreographed finale, the shallowness of characterisation holds it back.