El amanecer del planeta de los simios

La introducción demasiado digitalizada que dura varios minutos indica que la segunda película apostó por algo diferente que la primera. En ella, los monos digitales completaban una historia emocional y dramatúrgicamente sensible sobre las personas y el lugar de los animales en el mundo humano (y viceversa). Era una película de Spielberg que era pura en género. La segunda se ahoga en lo digital, está llena de acción y, dentro de las tendencias actuales establecidas por Nolan, es visualmente oscura. Lo cual en sí mismo no tendría que perjudicarla si todos sus personajes tuvieran un lugar significativo en la historia y si no evocara las emociones con sentimientos baratos. Realmente esperaba más de Matt Reeves, más que esta envoltura efectiva de un éxito de taquilla. (16.10.2014)

Tengo debilidad por estas historias simias. La primera fue para mí una experiencia extraordinaria debido a muchas razones y circunstancias, y considero que la secuela en su mayoría también fue exitosa, aunque un poco más débil. Siento que aún se necesitaba pulir mucho en términos de guion, especialmente la primera mitad se alargó un poco, algunas escenas podrían haberse omitido sin reemplazo. Tenía miedo de que Jason Clarke no pudiera manejar el papel principal, pero me sorprendió gratamente, sin embargo, Gary Oldman no puede sorprenderme con nada, siempre es excelente. En general, una impresión muy buena con pequeñas reservas. (11.08.2014)

This time there’s no CGI in the service of perfectly crafted emotions, honest monkey looks, and precise directorial construction of a simple plot, as Reeves sees the film's basic thrust on the exact opposite spectrum of blockbuster rules. Work with the characters is at zero, and plot predictability is at the max. As the minutes ticked by, I honestly felt so bad for every moment I guessed in advance that I wanted to turn in my movie ticket and get my money back. Fail of the year. (27.07.2014)

Dense, emotionally very rich, layered, fun and charming work with effects and "inhuman" protagonists, who take most of the space from their counterparts made of flesh and bones, which we simply don’t get to see that much (a slightly "sketched" Oldman, for example). Reeves has a more distinctive style than Wyatt, and it must be said that the use of long steady cam rides or a static camera in a few larger action sets is very refreshing, while giving the world of Planet of the Apes a prudence that goes beyond frenetic blockbusters. The tricks do not act as a self-serving tool for arousing astonishment, but rather as a deft means of characterizing characters with limited ability to express themselves verbally. In the same way, the action forms part of a compact and intertwined whole, which is characterized by surprisingly sensitive work with a detail of a monkey's face (not only a symbolically mirrored introduction and conclusion), but the film is brought down a bit by some partial clumsiness in the narrative. The film does not focus on simply entertaining, but truly strives to create a functioning universe, the possibilities of which deepen with each film. Also exciting is the way in which it "distributes" sympathy for "non-people" and makes them the bearers of our own historical dilemmas and failures (Caesar and Koba - sic! - as two faces of the revolution and the effort to create a functioning community). That's why Planet of the Apes is currently the most interesting "running" blockbuster series and Dawn of the Planet of the Apes is a film that stands out enough in this year's fierce competition to call it the best high-budget affair thus far. For me, it’s even a bit more convincing than the first film. [90%] (14.07.2014)

People. Apes. Hominids. Mammals. Scum. Everybody. Speak. Lots. CGI. Lots. Blockbuster. Thought. Seemingly. Superficial. Black and white. Too simple. Half-assed. First. Better. Suspense. Subliminal. Silence. Storm. Sequel. Different. Very. Overtone. Current. Inevitability. Pretend. Worse. No. Better. Different... And as a bonus to the short-spoken speech of animals, you get the origin of the shrew legal loophole in the apish lawbook committed on Rambo the Ape. (15.07.2014)