Page 18 THE VILLADOM TIMES I, II, III & IV • July 23, 2014 New ‘Apes’ film features conflict from within the ranks Caesar (Andy Serkis) is the leader of a simian community after a virus has wiped out most human life in ‘Dawn of the Planet of the Apes.’ by Dennis Seuling When “Dawn of the Planet of the Apes” opens, it is 10 years after humans have been nearly wiped out. The apes have built a thriving community in the deep forest. The chimpanzee Caesar (Andy Serkis) has a family: wife Cornelia (Judy Greer), teen son Blue Eyes (Nick Thur- ston), and a baby on the way. Former adversary Koba (Toby Kebbell) has become an ally while aging orangutan Maurice (Karin Konnoval) mentors the young and serves as adviser to the adults. In this post-pandemic world, there are pockets of sur- viving humans. A small group, consisting of architect Malcolm (Jason Clarke), former Centers for Disease Con- trol nurse Ellie (Keri Russell), and Malcolm’s teenage son, Alexander (Kodi Smit-McPhee), hope to reactivate a deserted power plant on the apes’ turf to provide electric- ity. When they explain their mission to Caesar, he gives permission, provided all guns are surrendered. However, suspicion in both camps, betrayal, and misunderstand- ings conspire to undermine cooperation, with conflict inevitable. The film is more thought-provoking than most summer blockbusters. Director Matt Reeves incorporates messages about interspecies tolerance, diplomacy, wise leadership, and the awful toll of warfare, all tied into a terrifically entertaining movie with plenty of action. The “Apes” franchise dates back to 1968, and this latest installment proves there is still a lot of steam left in the series. The actors portraying the apes far outshine those por- traying human characters. Computer-generated images are seamlessly blended with superior makeup that enables the actors to convey emotion. The apes communicate in a form of simple sign language, translated for the viewer by subtitles. They have the ability to speak, but prefer to remain as simian as possible among themselves. These sequences are fascinating, and the apes are so expressive that the subtitles are not always necessary. Serkis (Gollum in “The Lord of the Rings” films) turns in an extraordinary performance, with probably the most expressive eyes in movies today. His presence is so commanding that all eyes are glued to him whenever he is on screen. His close-ups convey exactly what he is think- ing, particularly when confronted with unanticipated problems. Caesar is a believable leader because of Serkis’ compelling work. Also amazing is Kebbell’s Koba, a creature who was tortured by humans in laboratory experiments, bears their scars, and is understandably distrustful of humans. It is hard for him to differentiate good people from bad, and it is this suspicion of their trespasses into the apes’ world that causes him to question Caesar’s willingness to work with them. Kebbell gives Koba a frightening, intimidat- ing personality that makes many of his fellow simians cower in fear. Conflict takes two forms in “Dawn of the Planet of the Apes.” There is conflict between humans and apes, and between factions within the ape community at opposite ends of the spectrum as far as trust of humans is con- cerned. These conflicts provide complexity and give the film an interesting political overtone. Parts of the movie play almost like parable, as the apes mirror human society in both admirable and negative ways. That was the origi- nal appeal of the series and it remains a strong attraction. “Dawn of the Planet of the Apes” contains all the ele- ments of a satisfying movie: well defined characters, solid story, action, and first-rate performances. It will certainly be embraced by science-fiction fans and aficionados of the series, but the movie has a broader appeal. It can be enjoyed as a dramatic example of how individuals react when confronted by outside forces and by people close to them who exhibit a dark side. “Dawn of the Planet of the Apes” is rated PG-13.