Matt Reeves (“Cloverfield,” “Let Me In”) has directed the best blockbuster of the summer so far with “Dawn of the Planet of the Apes,” a sequel to the 2011 film “Rise of the Planet of the Apes,” which itself was a prequel to the 1968 classic “Planet of the Apes” starring Charlton Heston and based on the novel by Pierre Boulle. “Dawn” features outstanding digital effects and a strong narrative with dramatic weight.
The prequel, “Rise,” cleverly explained how the apes became sentient and intelligent like humans. Scientists, led by James Franco’s character, tested an Alzheimer’s-fighting drug on apes causing them to gain the mental capacity and functions of humans. Realizing the mistreatment and inhumane testing they endured, the apes revolted, led by the first test subject, Caesar (Andy Serkis).
This sequel begins many years after the events of “Rise.” The human and ape factions of civilization are split by fear and hatred of the other. The apes live in the forest in fortified structures with weapons close at hand. Humans live similarly but in the dilapidated, demolished ruins of San Francisco. The humans, however, are running out of ways to produce electricity. After years of avoiding the apes, a scientist named Dreyfus (Gary Oldman) gets one of the survivors, Malcolm, to attempt to bridge the divide between man and beast in hopes of restarting a massive dam located in the forest in which the apes dwell. Malcolm brings his wife, Ellie (Keri Russell), and their son, Alexander (Kodi Smit-McPhee), up to the forest to try and convince the apes to allow them to use the power source. Caesar, who has gained the ability to speak English, remembers that humans have the ability to be caring and peaceful, but another lab ape, Koba, only knows the horror and pain that they inflict. All does not go well and war breaks out not only between apes and humans, but massive riffs form within the groups themselves.
These last two films in the long-running “Planet of the Apes” series have managed to take a premise that can easily fall over into absurdity and camp and made it into rousing, emotionally resonate science fiction in which audiences can suspend their disbelief. A large part of what makes “Dawn” so effective is the amazing computer generated imagery. C.G.I. is misused or overused 95 percent of the time. The biggest problem is that computer animation looks just like that, animation. The object or character does not appear to exist in the same realm as what is actually on set. Even in “Rise,” sometimes the movement of the apes was too light and unbound by gravity. Almost always in the sequel their heft and motion make them seem tactile as if they are standing and interacting with the actors on set. The effects are so strong that the audience forgets they are effects.
Andy Serkis and the animators do wonders with the motion capture. Caesar has an expressive face and body language yet retains the animal qualities of an ape. The technology not only captures Serkis’ performance, but it personifies Caesar’s struggle. He has the mind of a human stuck in the body of an animal. His eyes in close-ups are like gleamy oceans filled with pain and sadness, violence and anger. The tragedy of his character makes the battles and action scenes more than just a visual experience even though the final act of the film is too extended and features more fighting and flinging and shooting than necessary.
The human characters are played well, if slightly underdeveloped. Jason Clarke combines the macho stature of an action star with the frailty of an average man trying to protect his family in a deteriorating society. Keri Russell provides the medical care throughout, proving much more useful than Freida Pinto’s character in the previous film, who was nothing more than “the girlfriend.”
The special effects-heavy film works because the digital artistry is used to connect with the audience on an emotional level and not just for empty, ephemeral thrills. Special effects, even the most technically advanced, mean little if they do not relate to real life. “Dawn” is one of the better franchise films of the year because while it dazzles the eyes, it also stirs the soul.