In a post-apocalyptical Earth inhabited by only the few humans who survived the viral pandemic that wiped out most of human civilisation less than ten years ago, man and ape are at war. A troop of genetically modified apes have taken over the planet led by the enraged and long-suffering Caesar; the first ape to have been modified enough to develop human speech and intelligence. Determined not to let humankind rule over them as they once did, the apes will stop at nothing to make sure they are never subjected to brutal scrutiny ever again. However, Caesar knows deep down that there are still good men in the world, and he also knows that if those men and his primate family don't work together to create peace in the world, it will be the end of all of them.
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Caesar was the world's first genetically modified ape, who was more than let down by his supposedly caring human conterparts as he grew older and wiser, with the ability to communicate like a human being. Now living in a world where apes rule over the Earth, and over the few remaining humans after a deadly virus swept the planet nearly ten years ago, Caesar has every right to feel unsympathetic. The humans appeal to the apes for peace but most of them are brutal and merciless in response, unwilling to let mankind rule over the planet again. However, Caesar sees that unless they can live in peace, everyone will die and he starts to feel that perhaps there's more good in humans than he was starting to believe. As a devastating war breaks out, he bonds with a man he likens to the scientist who brought him up and decides to find a way to help everyone live in harmony, risking his own life for both their races.
'Dawn of the Planet of the Apes' is the unnerving sequel to the 2011 sci-fi 'Rise of the Planet of the Apes'. Both are precursors to the 'Planet of the Apes' franchise, and 'Dawn...' has been directed by Matt Reeves ('The Pallbearer', 'Let Me In', 'Cloverfield') alongside writers Mark Bomback ('The Wolverine'), Scott Z. Burns ('The Bourne Ultimatum'), Rick Jaffa ('The Relic') and Amanda Silver ('The Hand That Rocks the Cradle'). It is due for release on July 17th 2014.
Earth has become a post-apocalyptic nightmare inhabited by the few survivors of a virus that plagued the globe nearly ten years ago, affecting only humans and destroying civilisation. Now, a breed of genetically modified apes whose intelligence and strength exceed far beyond the mental capabilities of mankind are well on their way to becoming the rulers of the planet - a power that the humans aren't about to give up in a hurry. They are led by the ruthless original 'improved' primate Caesar, and the once immaculately built-up cities of the world have overgrown into isolated wilderness. With apes on the warpath and mankind struggling to rebuild their homes and their lives in the face of the oncoming menace, the two races must join together and form some kind of peaceful truce, lest the fate of the world becomes even more dismal.
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Jim Mickle's We Are What We Are is a fresh remake.
American remakes of foreign gems are fairly common, and most only slightly veer from the original. Matt Reeves' Let Me In (2010) is an almost shot-for-shot remake of the 2008 Swedish hit Let the Right One In. And even Martin Scorsese's Oscar-winning The Departed (2006) was a fairly faithful remake of the 2002 Hong Kong thriller Infernal Affairs.
We Are What We Are Is No Straight Hollywood Remake
By contrast, Jim Mickle's We Are What We Are takes a striking detour from the 2010 Mexican festival favourite by Jorge Michel Grau. Both films are about families that have a long tradition of murder and cannibalism, but the similarities end there. In the original, the father's death causes problems for a city-dwelling family; in the remake it's the mother who dies, pushing her rural family into crisis mode.
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Nearing a decade after a massive percentage of human civilisation was destroyed after a virus affecting only mankind spread its way across the globe, a breed of genetically modified apes with intelligence beyond normal capacity are on the verge of ruling the Earth, led by the original genetically reformed primate, Caesar. The once immaculate cities have become wild, with only a few survivors left to take on the challenge of rebuilding their lives - but it's something they are unlikely to achieve until some sort of peace is reached between the humans and apes. When that fails, the only thing left is war; something that could turn brutal enough to wipe out both species on their quest for dominance.
Director Matt Reeves discusses emotional realism in 'Dawn of the Planet of the Apes' during a press conference with some other cast and crew members at San Diego's Comic-Con.
In 1983 New Mexico, Owen (Smit-McPhee) lives with his absent mother (Buono) in a generic apartment complex. It's the dead of winter, and a new neighbour attracts Owen's interest: Abby (Moretz) is also 12 years old, "more or less".
Although she says they can't be friends, they clearly already are. And Owen needs a friend, since he's being horribly bullied at school by Kenny (Minnette) and his pals. But Abby has problems too: she needs human blood to survive and her guardian (Jenkins) is struggling to supply it.
Continue reading: Let Me In Review
Schwimmer's first outing, The Pallbearer, doesn't venture too far from the Friends tree, as we are presented with a big romantic comedy that borders on television kitschiness, full of screwball humor and plenty of misunderstandings to fuel the plot. In fact, the entire premise of The Pallbearer is driven by one big misunderstanding itself: Tom Thompson (Schwimmer) is asked to give the eulogy at the funeral of Bill Abernathy, a guy from high school who he doesn't even remember. (While The Eulogist might have been a more appropriate title, I figure a name like The Pallbearer will confuse enough stupid American moviegoers anyway.)
Continue reading: The Pallbearer Review
Gray, recently appearing with The Yards at the Boston Film Festival, based his tale of New York City subway vendor corruption on his own father's experiences. The filmmaker has given us a well-composed script, deftly flowing through intertwining relations of families, friends, enemies, and politicians. He sustains a hopelessly dim design throughout the film, even having the mind to steal wonderfully from a few Godfather scenes (he claims by accident), and lifting Gordon Willis' outstanding cinematography with his DP, Harris Savides (on purpose). Gray's direction gives us an overriding sense of doom that retains suspense far beyond that of a second-time filmmaker (his first being 1994's grim Little Odessa). But all that is nothing without Mark Wahlberg.
Continue reading: The Yards Review