WAR FOR THE PLANET OF THE APES (2017) FILM REVIEW

***** 
12A, 142 Mins

A political parable for a new age.

“Saving the best til’ last” is not a phrase you’d usually associate with the troublesome “threequel”. If movie history has dictated anything, it is that third films are a bodge.
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After the rousing success of ‘Rise and Dawn of the Planet of the Apes’ (2011-2014), you wouldn’t be foolish for fearing this third instalment in the rebooted ‘Planet of the Apes’ saga would similarly crash and burn.

In fact, quite the opposite!

Building on the layered groundwork of its stellar predecessors, ‘War for the Planet of the Apes’ joins the ranks of ‘Lord of the Rings: Return of the King’ (2003) and Batman’s ‘The Dark Knight Rises’ (2012). In short, it is one of the greatest trilogy conclusions ever conducted!

Less a Sci-Fi crowd-pleaser than a poignant, pulsating, poetic War movie; the film finds its footing well within the jungles of post-apocalyptic Earth.

Gruellingly resembling the guerrilla warfare of Vietnam, militaristic forces scour green forests in search of Simian chief Caesar (Andy Serkis). Thus we are re-immersed in the continuing conflict of Human vs. Ape. Once again, however, our main support lies with those monkeys!

Still haunted by a botched peace agreement in the previous film, central Caesar finds his hopes of non-violent protests quashed by the masterplans of cut-throat Colonel McCullough (Woody Harrellson).

An ultra-conservative firearms worshipper who routinely razor-shaves his already balding head, McCullough leads a brutish army of Fascist soldiers with the eventual intent of exterminating every last Ape.

However not before capturing and putting them to back-breaking labour, building – strangely presciently – “a wall”…

They do so within the confines of a cold, calculating concentration camp often overseen by defecting Apes who have been brainwashed into supporting the opposing side. Should Apes disobey, they find themselves horrifically lynched and left to suffocate on wooden crosses.

From the outset, there is a dark, grisly menace haunting this production. Despite a 12A certificate suggesting a family multiplex evening, there’s nothing remotely child-friendly to be found here.

Witnessing woeful scenes of whippings, torture and mass slaughter, I found my face unusually squinting. That is alongside evocations of terror and tragedy scurrying from my heart!

Undoubtedly, the film’s “adult” sensibility is crucial to its success. While audiences may demand blasts of bombardment from the film’s gung-ho title, Director Matt Reeves keeps “action” to the minimal.

Much of the focus remains mostly on the Apes themselves. With limited dialogue, a large portion of their intellectual interaction is down to silent sign language.

Mastering the mind-blowing art of motion capture technology, Andy Serkis is mesmerising. From the muscular physicality to the chest-beating growls, the actor embodies every fur-ball of the creature. In his hands, Caesar is as three-dimensional as he is animated.

After years of debate, an OSCAR nomination is a must (provided the Academy can get over a talking Ape that is!). Should those snobs have any query, however, simply shower them with a single scene!

That scene being a mouth-watering melee of words between Caesar and Colonel. One is a liberal being, preaching peace and prosperity. The other is a jingoistic nationalist rooted in right-wing extremism.

However the film resists the temptation to cast its humans as mere “monsters”. Instead Harrellson’s radical commando is deftly characterized by a heart-wrenching backstory, while Caesar contemplates crossing lines of his own.

This moral greyness is spectacularly utilized in a snow-swept climax. A swooping sequence which breathtakingly fulfils promises of a jaw-dropping finale!

Taking the template of ‘Star Wars’s Battle of Hoth, Director Reeves charges the chaos with emotive pain. You won’t find ‘Transformers’-style tedium here. Rather you’ll be head-scratching over the mercilessness of War itself.

“War is evil…for both sides” appears the message the film refuses to sacrifice for the sake of CGI.

There are flaws to this franchise’s most accomplished instalment. A side-story involving a mute young girl (Amiah Miller) feels fairly forced while comic relief from miniature “Bad Ape” (Steve Zahn) tiptoes towards blatant racial stereotype.

Yet even these weaker moments hold significance and they build beautifully to an ending that is ever so devastating, but so immensely powerful.

Whether there is life left for this series is another question, but, should this be “the end”, it’s one hell of a good ‘un!
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If there has ever been a “blockbuster with brains”, this certainly is it.
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