Da quando ci ha lasciati Roger Ebert del Chicago Sun Times, poco più di un anno fa, abbiamo sospeso gli articoli che riportavano le prime reviews dagli Stati Uniti.
Con tutto il rispetto per gli altri critici d’oltreoceano, il lavoro di Ebert era sempre stimolante, inconsueto e di assoluto riferimento.
Lo stesso non si può dire per tutti gli altri.
Riprendiamo volentieri l’abitudine per Apes Revolution – Il pianeta delle scimmie, che in originale è intitolato più semplicemente Dawn of the Planet of the Apes.
Il film uscirà in Italia il prossimo 30 luglio.
Il sequel de L’alba del pianeta delle scimmie, diretto questa volta da Matt Reeves (Cloverfield, Blood Story) con un cast quasi interamente rinnovato rispetto al reboot originale della storica serie della Fox, sta avendo riscontri entusiastici oltreoceano.
Todd McCarthy di The Hollywood Reporter gli assegna il massimo ed apre il suo pezzo così:
“A gripping account of interspecies conflict, Dawn of the Planet of the Apes manages to do at least three things exceptionally well that are hard enough to pull off individually: Maintain a simmering level of tension without letup for two hours, seriously improve on a very good first entry in a franchise and produce a powerful humanistic statement using a significantly simian cast of characters. In the annals of sequels, Dawn is to Rise of the Planet of the Apes what The Empire Strikes Back was to Star Wars — it’s that much better.”
McCarthy elogia una volta di più lo straordinario Andy Serkis, l’attore che ha prestato il suo corpo e la sua espressività a tutti i più grandi personaggi di motion capture degli ultimi dieci anni di cinema, a partire dal Gollum di Peter Jackson:
“Whatever anyone might think about the film as a whole, there is no question that Andy Serkis gives the most expressive, soulful, deeply felt performance of a non-human character the big screen has ever offered as the mature Caesar, the ape raised from childhood in captivity who now leads a band of a couple of thousand encamped in the Muir Woods north of San Francisco. His Roman namesake notwithstanding, the historical figure Caesar most resembles is none other than Abraham Lincoln, a wise, compassionate fellow with the common touch, old before his time, his eyes weary from all the suffering he’s seen, a peaceful sort by nature forced by fate to lead his followers in wartime and who is strong enough physically to take on, if pressed, any adversary.”
Anche la regia di Reeves si pone in contrasto con la frenesia da blockbuster:
“Without pummeling the viewer, the only thing so many action, big-budget-oriented directors seem to know how to do these days, Reeves delivers the goods with a fluid sense of imagery and an intelligence more philosophical than geeky or scientific.”
Anche su Variety, Guy Lodge esalta le potenzialità anche commerciali del film:
“It’s always darkest before the dawn, goes the saying — but in resuming a franchise already suspended on a downbeat note, “Dawn of the Planet of the Apes” sees the simian revolution reaching unprecedented levels of bleak anarchy. An altogether smashing sequel to 2011′s better-than-expected “Rise of the Planet of the Apes,” this vivid, violent extension of humanoid ape Caesar’s troubled quest for independence bests its predecessor in nearly every technical and conceptual department, with incoming helmer Matt Reeves conducting the proceedings with more assertive genre elan than “Rise” journeyman Rupert Wyatt. Entirely replacing the previous film’s human cast, but crucially promoting Andy Serkis’ remarkable motion-capture inhabitation of Caesar to centerstage, “Dawn” ought to go ape at the global box office starting July 9, smoothing the path for further sequels to test the franchise’s complexity.”
Reeves ed i suoi sceneggiatori, non hanno semplicemente sfruttato il buon risultato del primo film, seguendone la scia, ma costruendo un sequel del tutto originale:
“Credibility restored, then, it’d have been easy to get complacent, recycling the “Rise’s” most impressive setpieces and welding them to a hasty resuscitation of its movie-science narrative. Instead, Reeves and returning writers Rick Jaffa and Amanda Silver (joined by “The Wolverine” scribe Mark Bomback) have taken a different tonal tack, fashioning the new installment as an out-and-out war drama, with surprising subdivisions in its central conflict of man vs. beast, and battle scenes to do Weta Digital godfather Peter Jackson proud.”
Lodge si sofferma quindi sul sottotesto politico che ha sempre animato la serie, sin dal capolavoro del 1968:
“The “Apes” franchise has always been a politically loaded one, and this latest entry states its left-wing credo in ways both allegorically implicit and bluntly direct. (You’d have to be pretty obtuse to miss the pro-gun-control subtext attached to misdeeds on both sides of the man-monkey battle.) While the previous film functioned as something of a cautionary tale against man’s destructive meddling with his environment, “Dawn” apportions blame a little more equally, as the beasts (introduced in a thrilling, technically jaw-dropping faceoff against a grizzly bear) are shown to be no less reckless an influence on the biosphere than their former superiors. “I always think ape better than human,” Caesar admits to Malcolm, his speech patterns having evolved rather rapidly even over the course of this film. “I see now how like them we are.” It’s a reverse epiphany that would have Jane Goodall in tears.”
Steve Rose del Guardian chiarisce le premesse dal quale riparte la storia:
“The story picks up 10 years after the last movie (don’t worry if you don’t remember a thing about it). Humankind has been brought to its knees by a global virus, and genetically enhanced apekind has built its own utopian eco-community in the forests outside San Francisco. Under the sage leadership of alpha-chimp Caesar, they’ve taken on some human traits. They communicate in sign language and halting English, they hunt with spears, they wear make-up, they’ve even established a rudimentary pan-simian education system (lesson one: ape not kill ape). They haven’t seen humans for years, so when a small expedition, led by Jason Clarke, stumbles into apetopia, both sides are taken aback.”
Assegnandogli 4 stellette su 5, Rose chiarisce l’importanza del motion capture:
“This is primarily a visual experience, though, and on that front it’s spectacular and sophisticated. Both the forest settings and post-apocalyptic San Francisco are rich in detail and atmosphere, the action sequences are thrilling without being flashy, and the apes themselves are uncannily expressive, particularly their eyes. Just the species divide is blurred, so the line between what’s real and computer generated is undetectable here. We’ve arrived at the stage where the soulful expression on the face of a virtual chimp can conjure more sympathy than a real, emoting human. Perhaps that’s the real dawn here.”