Réalisation:
Matt ReevesPhotographie:
Michael SeresinMusique:
Michael GiacchinoActeurs·trices:
Andy Serkis, Woody Harrelson, Judy Greer, Steve Zahn, Gabriel Chavarria, Karin Konoval, Terry Notary, Sara Canning, Max Lloyd-Jones (plus)VOD (5)
Résumés(1)
César et les Singes sont contraints de mener un combat dont ils ne veulent pas contre une armée d'Humains dirigée par un Colonel impitoyable. Les Singes connaissent des pertes considérables et César, dans sa quête de vengeance, va devoir lutter contre ses instincts les plus noirs. Au terme d'un périple qui le conduira à un face à face avec le Colonel, les Singes et les Humains vont se livrer une guerre sans merci à l'issue de laquelle une seule des deux espèces survivra - et dominera la planète. (20th Century Fox FR)
(plus)Critiques (15)
As in the previous installment, I liked how lifelike the apes were, but the story itself wasn’t particularly compelling. I didn't have to strain my imagination very far to guess which way the plot would go, it was all so predictable. It definitely wasn't boring, but it could have done with a substantial shortening of the running time without the film suffering in any way. On a side note, the film obviously wasn't made by apes. If it had been, it certainly would have been less melodramatic, and bananas would have played a much bigger role in the story.
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Ne vous attendez à aucune « guerre », cela ne dure que quatre minutes. Le film est un voyage dramatique, lent et sensible, axé sur des personnages variés et leurs interactions émotionnelles, le tout dans un environnement naturel parfaitement conçu. Tout comme dans le dernier Livre de la jungle, la capture du mouvement des visages de singes éclipse complètement les acteurs réels (dont W. Harrelson). Leur rendu dans les détails de la peau / du pelage est technologiquement plus avancé que dans La Planète des singes : l'Affrontement. Incroyable.
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Avant la sortie du volet suivant au cinéma, je me suis rendu compte que je n'avais pas encore vu le dernier de la trilogie de Matt Reeves. C'est de loin le plus sombre, le plus triste et le plus tourmenté. La description en une phrase sur Disney+ promettant une bataille épique entre singes et humains me paraît plus qu'erronée ; je trouve que c'est plutôt très dépressif et qu'on se réjouit d'arriver à la fin. Mais l'attente est une bonne chose – au cinéma, l'expérience doit être tout autre. Soit dit en passant, je suis content d'avoir revu Woody Harrelson dans un rôle différent de celui d'un rustre mâchouillant, à moitié ivre ou grimaçant. Et je pense avoir pu deviner d'où sort l'héroïne principale du nouveau film ; tout s'emboîte parfaitement.
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My disappointment with the last film was so great that I avoided the trailers for the third one, feeling their uselessness. However, Reeves was either kept sedated or some brave producer really believed him, and I can hardly resist getting excited about arguably the boldest summer blockbuster in years. The opening action is still very forced, but then for the next hour, four monkeys, whose CGI rendering is a CGI reality approaching perfection, track a military unit through a snowy landscape at a slow but cinematically precise and deliberate pace. All the while, they are driven by the best possible cinematic engine, i.e., the desire for revenge. It was clear that all would be forgiven and I just prayed that it would keep going like this, as Michael Giacchino conducts the minimalist retro score and the cinematography flirts with the turn of the sixth and seventh decades of the last century. And that’s not all. Woody Harrelson varies the best possible creation of khaki madness spewed from the heart of darkness, and after the famous dialogue with Caesar, the film jumps on the dark wave of the erratic nature of desired good and the lure of ambiguous evil to bring it to an epic end. Even amidst the cheesy interludes and pathos of heroic self-sacrifice, it still keeps a grim face that relies on heroes who are no longer amusing apes who can do funny gestures, but solid figures whose emerging evolutionary supremacy is not to be doubted.
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They weren't kidding overseas, the third Planet of the Apes is another great spectacle. Matt Reeves continues the tone set by the previous installments and delivers a film that, while nearly two and a half hours long, isn't afraid to slow down and make time for scenes where the characters just sit around, talk, and you find out little details about them that make you worry about them instead of just waiting for the final set-piece. While last time the apes and humans were given similar space, this time it's almost all about Caesar, but Woody Harrelson has enough space to shine next to the digital (and of course amazing-looking) animal characters. I can imagine that the finale, with its slightly unexpected concept, won't quite suit some people, but paradoxically it makes all the ideas that have been hinted at several times throughout the film come through. Overall, War for the Planet of the Apes is exactly what we expected and hoped for. Plus, it confidently references the Charlton Heston version more than once, giving answers to questions one might not have thought to ask. A good and clever blockbuster. There's bloody little of that in cinemas..
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Four stars out of love for Caesar and out of respect for Matt Reeves' courage to make a film that is largely based on silence, gestures and slowness. Unfortunately, the attempt not to rush the culmination of the trilogy leads to the film completely sleeping through it. A strong opponent such as Koby is missing (and therefore the film must also evoke him at certain points, at least as a phantasm), and Woody Harrelson is very doll-like. It’s a bit of an easy template, a light version of Colonel Kurtz deprived of real demons. The introductory part is also captivating thanks to the inventive minimalism of Michael Giacchino and Seresin's detailed camera with variable depth of field. Unfortunately, the prison break in the second half drags on - it lacks energy and the supporting dilemma. The unraveling itself is imaginative and in the key of the entire trilogy, but the promised ape-apocalypse is not nearly as fatal and overwhelming as the trilogy imaginatively transmitting humanity to the monkeys deserves. The triumph is the incredibly detailed and precise animation and the acting of everyone involved. A slight disappointment. [70%]
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An apocalypse (in terms of structure and "the negative character" and even annoyingly frequent visual references) incorporated into the ending of the trilogy, which in turn is incorporated into all the story lines, characters and themes based on the original Monkey Planet through a torn inner struggle for Caesar's soul. Yes, it's overcomplicated, and despite it´s not the Conrad´s Heart of Darkness in apes version, the resulting "Ape-pocalypse Now / ape Logan" is a surprisingly faded, free from any action (there's no war, and even taking about talking about fight or dispute would be an exaggeration. This is the Bridge on the River Kw... Planet of the Apes), whose many obvious drawbacks "but" (all humans are stupid, unreasonably long footage, unbalanced pace, deus ex machine ending) don´t really matter thanks to emotions, captivating Serkis, enchanting first half and "invisible" CGI effects, which are not here to impress.
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The best trilogy since The Dark Knight? Undoubtedly! The final installment of the trilogy is much more of a depressing drama than an action spectacle, which is a bit of a bummer (I think the conclusion of a trilogy would deserve a pumped-up action inferno), but the upside is that even without "war" the apes work flawlessly. The CGI is a few levels above anything else we've seen so far, the emotions work better here than in any emotional blackmail film, and the pace hurtles forward faster than a draft horse. Another big upside is the villain, played by Woody Harrelson, who fits the bill perfectly. By the end the whole theater was crying, the woman behind me was considering running away as the emotional fit she was experiencing was too much for her. An emotional experience. 90%
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Old Man Caesar. I was afraid that the purely war-themed ending wouldn't be dignified enough for this saga of primates and humans, but the opposite is true. It's not just an action ride; it's a multi-genre crossbreed that took my breath away with every change of storytelling spirit. From the almost palpable weight of the experienced leader's fate, through the mental battle of two strong personalities, to the escape, intensified by its unbearable tension. The last chapter even extracts so many emotions from me that I was surprised they were all just for the Planet of the Apes. Thanks to everyone who allowed Matt Reeves to have an impact on the script because War for the Planet of the Apes surpasses the thematically very close Dawn of the Planet of the Apes in everything.
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A fantastic end to the trilogy. Smart, emotional, it grabs your heart. After all we have been with Caesar right from the very beginning. Reeves skillfully depicts a conflict between the fanatic colonel and the main hero, causing a powerful denouement. The special effects are absolutely top-notch, the acting convincing. Beautiful music.
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The initial draw into the action with a chilling forest scene is still fine, but as soon as the generic piano motif trying to mine the viewer for emotion kicks in, it was clear that it was over and the third time was definitely not going to be the charm. This is a film that could have been anything: a war apocalypse to save the world, an ape odyssey, a grim post-apocalyptic ape drama. Unfortunately, however, it’s a bit of a patchwork of everything and as a result, it lacks a strong theme, something fatal compared to the previous episodes, especially the first one, which also had a nice "realistic natural disaster" feel to it. The acting of the rendered apes is a class above that of any real actors. Unfortunately, even Woody Harrelson picked a weaker moment and an absolutely bad movie. Two stars for the visual effects and (digital) expressions of the apes, which ironically were the only tangible, real ones.
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I'm struck by how many people complain that there is “not enough war" in War for the Planet of the Apes. I, on the other hand, am glad there isn’t. The war scenes that are there are enough for me - they are so suggestive and gritty that I most definitely didn't need more. I am so pleased that the unimaginably cutting-edge effects serve mainly to create 100% believable characters and we can follow their story - especially Caesar's. A story that shows us one of the most heroic film characters of all time (I mean that, deadly serious), deals with humanity and inhumanity, skillfully develops the ideas of the 2011 film (who would have expected it back then?) and gets closer and closer to the 1968 film. I don't have a single reservation about the directing and its atmospheric scenes, I didn't really expect so much emotion from start to finish, in terms of acting it’s top notch (the Colonel and Nova are the only interesting humans, and that is the way it should be) and most importantly, it's still interesting and engaging and epic, though at the same time intimate. And that Michael Giacchino music!
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So, first things first. War for the Planet of the Apes is not the blockbuster of the decade I was hoping for thanks to the emotionally draining trailers and the enthusiastic foreign reviews, it has plenty of logical flaws and especially slow spots where, for example, Rise of the Planet of the Apes didn't have a single one. That said, this is an immensely refreshing and narratively unorthodox tentpole film by Hollywood standards, managing to both comprehensively conclude the overarching storyline regarding the character development of the leader Caesar, as well as bolt on a new series of events to his development, wrapped up in a grimly escalating and quite thoughtful cycle. The western-like first act, which stirs the vengeful appetites of the hitherto valiant Caesar, is absolutely fantastic in its contemplative atmosphere. In the rest, Reeves decently develops and concludes the internal (love vs hate) and external (apes vs humans) conflicts, delivering beautiful visuals and unconventional endings that don't affect the characters, but Mother Nature herself (which nicely underlines what it was about all along), but at the same time the narrative runs out of ammo in places and the prison break, for example, while not losing its fatalism, struggles with logic and believability. To praise the visual effects would be like taking nerds to an IT competition, so I will at least praise the tragicomic character of Bad Ape and the associated voice acting of Steven Zahn, and the casting of a little girl whose every look is worth a thousand words. A worthy conclusion to a great trilogy, although expectations were a bit higher after the deceptive trailers.
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This is an excellent ending to the trilogy, which does have a little too much Christian symbolism, but it can be ignored because you'll be rooting for the monkeys anyway. Humans deserve their fate, not only because of how they treat nature and other species, but also because of how they treat each other. The symbolism is good and strong in this film and it features great characters and a strong story.
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I'm not a big fan of American blockbusters, but this ape trilogy really appealed to me. Maybe because of the very disturbing prophecy concerning of the fate of humanity, especially in terms of the spread of a dangerous virus that will brainwash as it mutates (a very real concept, considering the unfortunate changes that covid-19 causes to brain tissue)... And then I also have to admit that the theme is brilliantly handled visually and musically, while not drowning out the story and the central idea of the whole work. Of the three movies, I was definitely most impressed by the nicely chilling final part, in which the chimpanzee Caesar gets into tangle with the ruthless Colonel McCullough, in an unparalleled performance from Woody Harrelson. (85%)
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Annonces