They’re graded on a curve, for the most part, and I’ve come to accept them less as movies and more as complicated construction projects with thousands of moving parts. I tend to give big films like these (I’m thinking of something like Doctor Strange or Rogue One) the “good enough” pass because I’m just so impressed by the behind-the-scenes work that goes into their construction. Rob: It is special, and I agree that it’s a remarkable piece of storytelling and design disguised as a summer blockbuster. These last two films have much to say as allegory (same as the original series from the '60s and '70s), but I was even more impressed by just how beautiful they are from a technical craft perspective, culminating in a conclusion that felt like something out of a storybook.
PLANET OF THE APES STRONG TOGETHER SCENE MOVIE
I thought Rise of the Planet of the Apes, directed by Rupert Wyatt, was OK, but what Matt Reeves has done with the very good Dawn of the Planet of the Apes (featuring Koba, one of the best movie villains of this decade) and now War is an elevation of the material into something special. It’s dreamlike and I grew gradually more mesmerized by it. The Great Escape), but a feel unlike that film or even the previous movies in the Apes reboot/prequel trilogy. It has the signifiers of other films (e.g. It’s different than any blockbuster I can remember in terms of its rhythm and pacing. That was my favorite aspect of War for the Planet of the Apes. The scene is funny and weird and comes out of nowhere. This is the scene where I went from admiring the movie (and the trilogy, actually) on a more dispassionate level to falling in love with it.
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