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SF Radio 9.02: Uneven Equality in TRIANGLE OF SADNESS

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Directed by Ruben Ostlund, TRIANGLE OF SADNESS is an epic exploration of the imbalances of economy. Told in three sections, the film follows a cruise for the uber rich that sinks at sea, leaving it’s wealthy patrons on an island to fend for themselves on a deserted island. This week, Jason Thai and Daniel Maranan stop by to talk about upending financial privilege, the toxicity of power and the delusion of equality.

You can stream on podomatic, Alexa (via Stitcher), Spotify, iHeart Radio or Amazon Podcasts! Or, you can downoad the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

9.02-Triangle-of-Sadness

Triangle of Sadness: Savage Satire and Sinking Ships

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Not every cruise is a pleasure.

Told in three chapters, Triangle of Sadness follows model Carl (Harris Dickinson) and social influencer Yaya (Charlbi Dean) as they embark on a luxury cruise which caters to the ultra-wealthy. Led by an inebriated and bitter captain (Woody Harrelson), this is a trip that celebrates excessive living, even if it exemplifies inequality. However, when irresponsibility leads to destruction at the high seas, the guests and crew find themselves forced to re-evaluate their positions in life and stature.

Directed by Ruben Ostland, Triangle of Sadness is fueled by an inner fury more than it is deep-seeded sorrow. Set primarily on an elegant cruise ship off the coast of France, this is a space for the cultural elite to have their every desires met. To them, this will be a journey of ‘yes’. Staff and crew are instructed to adhere to the whims of their clients, whether it’s acknowledging sails that don’t exist or getting in the hot tub in uniform. (After all, the potential of a massive tip at the end of the journey is a massive motivator.) Although the film primarily follows Yaya and Carl, all of the ship’s guests have earned their finances through controversial or disgusting means. From a Russian fertilizer salesman (“I sell [crap]”, he says proudly), war profiteers or social media influencers, every guest is meant to feel as though they are kings and queens of the world. 

Though, to be fair, they already do in their everyday life.

However, Ostland follows their journey with a winking eye. Through his extended use of long takes and political discourse, he wants the viewer to feel uncomfortable. Admittedly, there are moments when the film feels long. (Clocking in at almost 2 ½ hours, one cannot help but feel that some of these conversations could be cut down.) Nevertheless, there is no question that the decision is intentional. With long conversations arguing the benefits of both Marxism and capitalism, Sadness understands the complexities of social agreement. Through money and power, separations are created and people are oppressed. As the discussions about gender roles and cultural views on financial inequity continue, one cannot help but ask how these conversations never lead to action in a world of disparity. For these financial titans, equality is constantly said to be the goal… yet it is only a perceived equality.

On this ship, everyone believes in equality. But whether or not they’re willing to make the necessary sacrifices to achieve it are up for debate.

After all, for true equality to exist, these financiers would have to give up some of what they already have. This is a world of division, enforced by financial barriers. (Incidentally, these distinctions even exist amongst the crew as those who deal with the guests directly hope for massive tips yet those who work below deck are ignored.) 

However, when these divisions are up ended, the balance of power shifts dramatically. Suddenly, everyone must learn how to deal with their new roles as those who have lived lives of service now find themselves in power over those who are used to living the high life. In these moments, rather than simply satirizing the rich, Sadness also cuts deeply in the recognition of what happens when power is at play. Regardless of race, gender or wealth, there is a toxicity to power they can corrupt even the most innocent of souls when authority is given [or taken away].

Sharply written, Triangle of Sadness is a savage satire that delves deeply into the brutality of financial inequity and its effect on those in poverty. Ostlund pulls no punches in his arguments yet does so with such humour that the film feels more clever than heavy-handed. As such, Sadness may be the tale of a sinking ship but, more importantly, it’s conversations hold water.

Triangle of Sadness is available in theatres on Friday, November 7th, 2022.

TIFF ’22: Triangle of Sadness

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Told in three chapters, Triangle of Sadness follows model Carl (Harris Dickinson) and social influencer Yaya (Charlbi Dean) as they embark on a luxury cruise which caters to the ultra-wealthy. Led by an inebriated and bitter captain (Woody Harrelson), this is a trip that celebrates excessive living, even if it exemplifies inequality. However, when irresponsibility leads to destruction at the high seas, the guests and crew find themselves forced to re-evaluate their positions in life and stature.

Directed by Ruben Ostland, Triangle of Sadness is fueled by an inner fury more than it is deep-seeded sorrow. Set primarily on an elegant cruise ship off the coast of France, this is a space for the cultural elite to have their every desire met. Through his extended use of long takes and, he wants the viewer to feel uncomfortable. Admittedly, there are moments when the film feels long. (Clocking in at almost 2 ½ hours, one cannot help but feel that some of these conversations could be cut down.) Nevertheless, there is no question that the decision is intentional. With lengthy conversations arguing the benefits of both Marxism and capitalism, Sadness understands the complexities of social agreement. 

On this ship, everyone believes in equality. But whether or not they’re willing to make the necessary sacrifices to achieve it are up for debate.

Sharply written, Triangle of Sadness is a savage satire that delves deeply into the brutality of financial inequity and its effect on those in poverty. Ostlund pulls no punches in his arguments yet does so with such humour that the film feels more clever than heavy-handed. As such, Sadness may be the tale of a sinking ship but, more importantly, its conversations hold water.

Triangle of Sadness is now playing at ‘TIFF 22. For screening information, click here.

Venom: Let There Be Carnage – For the Love of Carnage

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Some relationships just don’t make sense. But they can sure be fun to watch.

In the new rom-com superhero flick Venom: Let There Be Carnage, Eddie Brock (Tom Hardy) has fallen on hard times. After the events of the first film, Brock has fallen on hard times. Struggling to pay the bills while living life with his frustrated (and hungry) symbiote Venom, Brock is doing everything he can to keep things together. When he is called in for an exclusive interview with serial killer Cletus Kasady (Woody Harrelson), Brock reluctantly takes the job. However, after a freak accident transfers some of Venom’s symbiote into Kasady’s bloodstream, a new terror is unleashed upon the city. Suddenly, Eddie and Venom must decide whether or not they can put aside their differences in order to work together and defeat the villainous monster known as Carnage.

Directed by Andy Serkis, Venom: Let There Be Carnage in an energetic ball of silliness. Instead of leaning into the potential gravitas of the evil symbiote, Serkis opts to create a film solely about monster mayhem and wanton destruction. (The title Let There Be Carnage is more than just a character reference.) However, in doing so, the film seems to fight many of the major tropes of modern superhero fare. For example, clocking in at a shockingly brief 97 minutes, the film leans into its story without any extra padding. (Compare that to the next Spider-Man film which has a reported runtime of 150 minutes.) There are no long soliloquys or moments where characters contemplate what it means to be a hero. Instead, the film pushes ahead with the story quickly as it builds to the inevitable superhero brawl at the film’s climax.

What’s more, despite the darkness of the character, Serkis use Venom’s relationship with Eddie to create a bromance comedy with a surprisingly light tone. In fact, the film feels more like the campier Batman films of the 90s than it does with other entries in to the Marvel Cinematic Universe. Despite the fact that Venom speaks openly about his desire to eat people, somehow the film manages to portray the demonic force as a ‘grumpy best friend’ rather than a menacing threat to others. (At one point, Venom even attends a rave wearing glow necklaces and drops the mic after speaking onstage.)

While these may seem like criticisms, the sheer ridiculousness of the franchise makes the film an absolute blast to watch. (Dare I say, it may even be refreshing?) This is a franchise that began with the expectation of darkness but has decided to surprise audiences with something entirely different. Stars Hardy, Williams and Harrelson may best be known for their more serious dramatic work yet they seem like they’re having an absolute blast leaning into the goofiness of the film. Hardy argues with Venom about taking on ‘superhero names’ while Harrelson’s sly smirk barely hides his own madness. Even Michelle Williams speaks to Venom as though he’s some form of estranged best friend as opposed to a terrifying alien symbiote. 

Underneath the laughs, this is ultimately a film about the signs of toxic relationships. Throughout the film, there are several spaces where the flaws between couples are exposed. Whether it’s Eddie and Anne, Anne and Dan, or even Cletus and Eddie, this is a film filled with duos who are struggling to keep things together. However, having said this, the best example of this may come in through Cletus and Frances as they attempt to build something, despite their issues together.

Drawn to the darkest aspects of each other, the would-be supervillain couple feed off each other’s thirst for revenge. However, despite their intense connection, their individual powers are in direct conflict with one another. With every shriek she makes, Carnage experiences pain, forcing Cletus to ask her to not use her abilities. (Incidentally, even though he cares for Frances, one could also read that as a sign of toxic masculinity where the male refuses to let his partner speak for herself.)

On the other hand, held up against the relationship between Cletus and Frances is the connection between Eddie and Venom. On the surface, the tension between host and symbiote is palpable as they want to be free from one another. However, even though they constantly bicker and fight, there’s something strangely supportive about their relationship. Whereas Eddie needs Venom’s strength and brains to find success, Venom has a difficult time finding another person that can properly host his power. For Eddie and Venom, they begin to understand the importance of the other and sacrifice their wants to make things work between them. In other words, whereas Cletus and Frances fail to find common ground, Eddie and Venom recognize that they need to humble themselves for their relationship to function in a healthy manner.

If that all sounds very strange, that’s because it is. 

But, somehow, it works.

Admittedly, special features on the disc are surprisingly sparse. While outtakes and deleted scenes are expected, the disc is definitely missing a commentary by Serkis to discuss his vision. While he does offer his views in a segment entitled ‘Eddie and Venom: The Odd Couple’, it’s really limited. Even a feature entitled ‘Tangled Webs: Easter Eggs’ that may appear tantalizing for tie-ins for future films lacks meaningful content beyond the obvious teases. (Sorry, Sony. Cletus crushing an actual spider does not qualify.)

With all that being said, Venom: Let There Be Carnage may be utter madness but it also might be one of the best comedies of the year. Wild and wacky, Serkis has bizarrely created an Odd Couple-esque relationship out of one of Marvel’s more sinister villains yet hits the right notes to keep it entertaining. So, bring on another entry.

I, for one, am actually interested to see where this relationship goes.

To hear our conversation with Venom creator Todd McFarlane, click here (audio).

Venom: Let There Be Carnage is available on 4K and Blu-ray on Tuesday, December 14th, 2021.

Midway: Battle-Ready, Willing and Able

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Set in the heart of WWII, Midway tells the dramatic story of the US soldiers and pilots who fought during the Battle of Midway in June 1942. Having remained ‘officially’ neutral in the war, the US found themselves drawn into the conflict after the bombing of Pearl Harbour in December 1941 at the hands of the Japanese. Over the next few months, they engaged in a military chess match as both superpowers attempted to outmaneuver one another, culminating in the epic Battle of Midway.

Directed by Roland Emmerich (The Patriot), Midway is a bold and sweeping film that attempts to walk the line between historical drama and action blockbuster. Known for such epic films as Independence Day and The Day After Tomorrow, Emmerich understands the nature of spectacle, which he puts to good use onscreen here. With every screaming bullet and fiery explosion, Emmerich seats the viewer in the centre of one of WWII’s most iconic battles. As a result, the sweeping nature of the action and its ‘rag-tag’ group of characters who come together to win the day fits well into Emmerich’s repertoire. (Ironically, however, it’s interesting to note that the historical aspect of this particular film makes Midwaysomewhat of a departure for him as well, given that his filmography consists almost entirely of science fiction epics.)

Unfortunately, where Midway loses its way is in the area of character development. Like many of Emmerich’s other films, Midway’s heavy reliance on stunning battle sequences often leaves its characters somewhat one dimensional in the middle of complex circumstances. As a result of the film’s emphasis on action, heroic historical characters like Lieutenant Commander McClusky (Luke Evans), cocky war hero Dick Best (Ed Skrein), and Admiral Chester Nimitz (Woody Harrelson) aren’t given the time to explore their true feelings and motivations in the midst of the most difficult of times. None of this is particularly surprising, given Emmerich’s back catalogue. After all, for Emmerich, the greatest drama lies in the victories and losses as opposed to the inner battles of his characters. However, it does keep Midway from truly landing as a truly compelling historical drama. (Although, it is worth noting that one of the most surprising aspects of the cast is its lack of ethnic and gender diversity. While the film is set in the 1940s and the film’s heroes were actually Caucasian males, the script gives little opportunity to anyone else to speak their voice, an important aspect that is usually a staple of Emmerich films.)

However, the film’s penchant for spectacle does powerfully emphasize the nature of sacrifice. For Emmerich, the greatest demonstration of valor comes when people are willing to give their lives in the service and protection of others and Midway demonstrates this truth well. For these characters, war is neither driven by a quest for glory nor individual medals but by doing what is required in order to keep their families safe. In some ways, Midway exemplifies the power of sacrifice best in its smaller moments. For example, one brief scene where a young girl is rescued by her mother as Pearl Harbour is destroyed speaks to the more personal implications of war. In another, as Best informs his troops that, ‘even though they’ve been through hell, they have to get back out there’, the audience recognizes the sheer exhaustion that is required of military troops when they are thrown into the field. Brief moments such as these speak to the true sacrifice of life at war when families are directly impacted or men and women are called upon to give more than they have to offer in service to a call greater than themselves. In this regard, Midway wears its heart on its sleeve by demonstrating Emmerich’s admiration for those who have committed their lives to the mission.

Even so, as the end credits roll, Midway leaves the audience with somewhat of a mixed bag of emotions. While the film’s spectacle is thrilling and often gorgeous to see, frequently one-dimensional writing for its characters and a surprising lack of diversity hold the film back from true greatness. While it’s easily Emmerich’s most entertaining film in years, Midwayis still missing enough depth to truly land the plane.

Midway brings history to life in theatres on Friday, May 8th, 2019.

GIVEAWAY: SOLO in 4K!

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Young Han Solo finds adventure when he joins a gang of galactic smugglers, including a 196-year-old Wookie named Chewbacca. Indebted to the gangster Dryden Vos, the crew devises a daring plan to travel to the mining planet Kessel to steal a batch of valuable coaxium. In need of a fast ship, Solo meets Lando Calrissian, the suave owner of the perfect vessel for the dangerous mission — the Millennium Falcon.

The winner will receive a copy of the Solo: A Star Wars Story 4K Ultra HD/Blu-ray Combo Steelbook Edition.

To enter, simply like or share our post on Facebook and answer the following question in the comment section: Who do you think is the best pilot in the Star Wars series? Why?

For a bonus entry, like or share the post on Twitter and Instagram.

All entries must be completed by 11:59pm on Monday, September 24th, 2018.

 

SOLO: A Star Wars Story will be released on Blu-Ray on Tuesday, September 25th, 2018

Solo: A Star Wars Fan War Continues

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Has the Star Wars franchise peaked? Is it running out of steam? If you listen to some of the voices in the fan base, or certain critics, you begin to get that impression.

I don’t think so.

On FilmRejects.com, Max Covill states the film “didn’t connect with audiences.” I’ll address that assertion in a moment. Covill goes on to say why he thinks the movie didn’t live up to box office projections (a bit different assertion):

A few explanations come to mind for what might’ve happened to this latest entry in the Star Wars canon. The biggest of which might be box-office fatigue. The Last Jedi launched in theaters around Christmas time and that meant only five months between the release of Star Wars features. Never in the history of the franchise have movies released that close to one another. Star Wars has always been positioned as an event film. When you make it a common occurrence, it becomes less exciting. Disney might have thought they could get away with it, given how their Marvel movies have been released, but it doesn’t work for Star Wars. The series’ next entry, Episode IX, won’t launch until Christmas 2019. By then, the fever for a new Star Wars feature will be higher than right now for sure.

Covill doesn’t believe the franchise is over, by any means, but that this particular film just doesn’t live up to Star Wars standards. I’ll let you decide for yourself if this is true. Just, please, watch the movie for yourself before you decide if you like it, and then consider what I have to say below.

Before I get into the movie itself, I want to clarify some things about the box office numbers, and the connection with the audience.

  • If you look at the box office records for every Star Wars film which opened on a Memorial Day weekend, Solo is number one. The only other Disney film which did a better box office on that holiday weekend is Pirates of the Caribbean: At World’s End.
  • Solo was the number one domestic movie from the day that it officially came out until Friday, June 8, when Ocean’s 8 (deservedly) took the top spot. Solo was number three, behind the newcomer Hereditary, and still ahead of Deadpool 2 and Avengers: Infinity War. May and June have been very competitive months, and the matchups certainly have hurt the numbers for Solo.
  • Solo is the number 5 box office movie of 2018, hitting that mark in only its second week in theaters.
  • The audience has connected with the movie. As of this writing, Rotten Tomatoes gives it 71% critics score, and a 65% audience score. These are not nearly as high as the scores for Rogue One, but the audience score for Solo is higher than for The Last Jedi. The audience seems to be more critical when it comes to Star Wars films that resurrect main characters, which is understandable. But, while The Last Jedi was much preferred by the critics, Solo is preferred over Last Jedi by the general audience.

So much has been said already about Solo that I have decided to go a little rogue with my review of the film. There will be spoilers ahead, so if you have yet to see the film, I would recommend you view it before continuing. I contend there are some great things in the movie, and I’d hate to spoil the fun. My concentration will be not so much on the plot, but how Solo fits into the Star Wars universe, and whether the harsh criticisms made about it are justified.

When we first meet Han Solo in the 1977 movie which started it all, we meet a jaded man who is all about himself. Leia tells him, “If money is all that you love, then that’s what you’ll receive.” Han has lived the greater portion of his life serving the underworld. He is about survival, and has learned to fear gangsters more than the Empire.

But, as we find out at the end of that movie, there is a “good guy” side to him, too. Han doubts along the way, but he always comes back, becoming an important part of the Rebellion. However, when the New Republic fails, it is no wonder that in The Force Awakens we find back to his old pirate ways. Even then, when he meets up with Rey and Finn, he tell them the stories about The Force are “all true.” There is still a small hope alive in him after all he’s been through.

Ironically, the Han we meet in Solo is hopeful in an era when hope had been lost. He dreams of leaving his taskmasters, with Qi’ra at his side. He is not the jaded man we saw in the original trilogy. He is only interested in money as a means to escape and give himself a chance. Even his experience of war doesn’t completely destroy the altruism which lies beneath the surface. He is happy to let Enfys Nest have the coaxium, even if he is unwilling to join her group, which apparently is a germ of the Rebellion.

Qi’ra, however, has her own agenda. She certainly still has feelings for Han, but not an unconditional, sacrificial love. Nor does she believe Han would love her back if he knew what she had done. She only knows how to use him for her own advantage. At first it looks like Qi’ra betrays Dryden Vos simply because of her love for Han, but she has a more insidious purpose. She wants power.

Qi’ra now takes Dryden Vos’ mantle, and the movie sets itself up for a sequel, or at least a potential television series. It is also revealed Crimson Dawn is under the control of Maul (formerly Darth Maul). Some have complained about Maul’s appearance in the film, but many who have watched the animated series and read the comics know how he fits. If you are interested, here is a good place to start: Star Wars Solo movie: How did Darth Maul survive? What is Crimson Dawn?

The movie ends with Han being betrayed by both Qi’ra and Beckett, whom he shoots first—an obvious reference to the controversy over who shot first in the bar scene in A New Hope. With all he has been through, Han still has a positive attitude. He goes back to beat Lando at his own game, and wins the Millennium Falcon. He then talks about going to Tatooine to work for the Hutts.

Some of you who have made it this far into my piece are asking, “Who cares?” And you have a right to ask. Some of you don’t care about the minutiae of Han Solo’s life; you’d like to just leave him as you knew him in the original trilogy. And that’s fine.

But some of us want to know. We want to know how Han got his last name and what making the Kessel run in 12 parsecs means. (I was delighted to know I was right in saying, all these years, that Han had to be talking about distance, not speed.) We want to know how Han met Chewbacca. We want to know the story about how Han got the Millennium Falcon.

I am one of those guys who actually plodded through The Silmarillion because he wanted to know the backstory. Admittedly, it was not as pleasurable as reading The Hobbit and The Lord of the Rings, but I’m glad I did it. I’m glad I watched the Star Wars prequels, too. Not because they were top-notch movies; they weren’t. But they satisfied an itch that could not be satisfied any other way. I wanted to know. And there is a certain satisfaction in knowing.

And apparently millions of others wanted to know, too.

Solo: A Star Wars Story – Do We Need This?

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One of the things I liked about the original Star Wars (now Star Wars: Episode IV – A New Hope) is that we come into a story in the middle, yet it captivated audiences. That’s one of the reasons I wasn’t fond of the prequel trilogy. I never believed the backstory was necessary or helpful. I did appreciate Rogue One: A Star Wars Story for the way it brought something new into the mix. The newest addition to the Star Wars canon is Solo: A Star Wars Story. The question that needs to be asked is will Han Solo’s backstory improve our understanding of the overarching story, or just feed our hunger for all things Star Wars?

In terms of the Star Wars timeline, this film fits between The Revenge of the Sith and Rogue One. We meet Han (Alden Ehrenreich) as a street urchin on a corrupt, crime-ridden planet. He is in love with Qi’ra (Emilia Clarke), and the two are planning an escape from the crime boss who controls their lives. But when they are separated, their lives take different trajectories. The story goes on to show us the various things that lead Han into the life of smuggling. Along the way he meets and makes friends with Chewbacca (Joonas Suotamo), comes under the sway of the leader of a band of crooks, Tobias Beckett (Woody Harrelson), is reunited with Qi’ra who is now the top lieutenant for an upscale crime boss, first crosses paths with Lando Carissian (Donald Glover), who also appears later in the canon, and gains possession of The Millennial Falconer. The story is a mix of heist film, origin story, and space opera.

The Han Solo we see in this film is brash, reckless, self-assured, and charismatic, much like when Harrison Ford plays him. Ehrenreich manages to get much of Ford’s inflection right enough that we can believe this is the same person. But who is Han really? He wants to be an outlaw (and self-identifies as such), but Qi’ra tells him what we all know about him from following the Star Wars saga: that he’s the good guy. Let’s face it, we all already know who Han is. This film won’t give us new insight. And, like my appreciation for A New Hope for its abruptness, I prefer meeting Han for the first time in that Tatooine bar. In A New Hope we learn to like Han. Solo, if one were to watch the canon in the story’s chronological order, would undermine that process.

Now that I’ve said what I don’t like about the film, let’s look at some of the issues it raises that are worth noting.

While much of the Star Wars saga deals with the direct battle of good and evil (and the attempt for the evil to seduce the good), Solo is more about pragmatism as a survival tool. Nearly everyone in this story is just trying to make things work. Each character makes choices that will affect others. Do they take those effects into consideration, or only what is best for themselves? The result of this is that the issue of trust becomes paramount as Han relates with each character. Is he too trusting? Are any trustworthy? Is Han?

The bit in the film that actually does feed into the overall saga narrative deals with questions of freedom and oppression. From the beginning of the story, Han is seeking to find his freedom. For him that is defined as getting his own ship and flying around the galaxy. But as Qi’ra tells him late in the story, “Everyone serves somebody.” We all answer to someone, and that is its own form of control and oppression. On each new world and each new circumstance, we see different kinds of oppression. At this point in the story, the rebellion has not yet begun, although one of the minor characters is seeking to kick start that revolution and fight for freedom. (Maybe that will be the next Star Wars Story.) The most entertaining voice for freedom in the film is L3-37 (Phoebe Waller-Bridge), Calrissian’s droid/co-pilot/companion. She is a vocal advocate in the story of equal rights for droids. And when she gets a chance begins an emancipation of droids and other slaves. While this actually may seem like a minor plot point in Solo, that theme is constantly in the background.

That takes us back to the pragmatism of the characters. As Star Wars plays out, of course, we see that the fight for freedom is never a matter of pragmatism, but of sacrifice and a commitment to justice. There are hints of that in Solo, but for the most part this is one of the most insubstantial and shallowest of the Star Wars canon.

 

Photos courtesy of Wald Disney Studios

4.10 Anger, Loss and Grace in THREE BILLBOARDS OUTSIDE EBBING, MISSOURI

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With the release of this week’s Oscar nominations, THREE BILLBOARDS OUTSIDE EBBING, MISSOURI cemented itself as an Oscar favourite with multiple nominations. Starring Francis McDormand and Sam Rockwell, BILLBOARDS is an intense drama (or is it a comedy?) and Steve welcomes back Shelley McVea to discuss the film’s interest in loss, anger and the power of grace. PLUS, they give their thoughts on the snubs and surprises of this year’s Oscars!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

4.10 Three Billboards Outside Ebbing, Missouri

Thanks Shelley for joining us!

For those of you in Canada who are interested, you can donate to ScreenFish by clicking the link below and simply selecting ‘ScreenFish’ from the ‘Apply Your Donation…’ area. 

https://www.canadahelps.org/en/charities/connect-city/

War for the Planet of the Apes: Hail Caesar!

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Hail Caesar.

Directed again by Matt Reeves, War for the Planet of the Apes picking up 2 years after the events of Dawn and shows that the battle between humans and apes has escalated tremendously.  With multiple casualties on both sides, Caesar (Andy Serkis) is determined to free ape-kind from the attacks of the humans’ relentless military leader Colonel McCullough (Woody Harrelson).  After a human raid on the ape compound ends in tragedy, an enraged Caesar sends his colony away and opts to seek revenge on the Colonel himself.

What has made these most recent entries into the Apes franchise so special has been their heavy emphasis on character.  Through his portrayal of Caesar, Andy Serkis isn’t just compelling as the Ape leader, he practically leaps off the screen as one of the more complex and, yes, ‘human’ characters in a franchise in the last two decades. More than a mere sympathetic character, director Reeves portrays Caesar as broken leader, torn between two worlds.  Despite the fact that he was raised by humans, he isn’t one.  What’s more, he doesn’t fit in with his fellow apes due to his human upbringing.  There is a tension within Caesar that seems to bring conflict into every decision he makes.  Will he succumb to his baser instincts?  Will he seek a path that will cause tension with his own kind?

All of these questions, however, point to Caesar’s very human struggle of wanting to do good but battling his own inner demons.  Unlike many other onscreen sci-fi characters, Caesar could be any one of us.  While there remains a safe distance with many current onscreen ‘heroes’—after all, who has the resources of Batman or the powers of the Hulk? – Caesar somehow remains accessible.  A survivor of abuse, he recognizes that evil has come as a result of a few and not all of humanity.  He has been damaged but struggles to move on. Through his obsession with focusing on the eyes of his characters, Reeves shows the    brokenness within Caesar with a simple glance.  (After all, wasn’t it Shakespeare that claimed that the ‘eyes were the windows of the soul’?)

War puts the conflict within Caesar on full display, as he wrestles with obsession and revenge.  Having endured incredible personal losses, Caesar’s battle with his inner demons takes on a visceral edge as he slowly slides into potential savagery.  Anchored by his visions of Koba, the treacherous ape who led a rebellion in Dawn, Caesar’s desire for peace gradually gives way to his desire to kill.  (In fact, there is even one particular dream sequence that plays out similar to Christ’s experience in the wilderness, with Koba’s voice inviting Caesar to give in to temptation and unleash his hatred.)  While Caesar’s life has been touched by grace through his human friends, the scars of war, hurt and hatred left by others prevents him from fully living.

Yet, in the midst of this dark descent, there lies hope.  Despite the apes’ incarceration in the ‘human zoo’, Caesar’s struggle against the Colonel provides a beacon of light for those around him.  His acts of courage and defiance show his ape family that rebellion against evil doesn’t necessarily mean combat.  It’s interesting to note that Reeves’ desire for this film was to depict Caesar as the ‘Moses’ of ape-kind, leading his people out of the hands of overwhelming oppression.  In this regard, War take on the structure of a biblical epic, buoyed by Caesar’s desire to see his people reach the ‘promised land’ of freedom.  (SPOILER ALERT:  In fact, the film’s destructive avalanche even seems to echo the plight of Pharaoh’s army at the hands of the Red Sea.  SPOILERS END)

Though, unlike Moses, Caesar’s hope is far less secure.  Whereas Moses believed that God would intervene, Caesar’s hope frequently lies within himself.  Aware that he bears responsibility for the ape capture in the first place, he places the burden of freedom upon himself.  However, in doing so, his inner brokenness becomes more evident and he remains paralyzed.  Ironically, it is only after his fellow apes remind him that ‘Apes. Together. Strong’ that Caesar remembers that true hope lies in something bigger than himself and he begins to move towards freedom once again.  (If that doesn’t sound like the beating heart of a Biblical epic, I don’t know what does!)

In the end, the power of this latest batch of Apes films lies in the audience’s relationship with Caesar.  Each film leaves with the question of whether we need a Caesar or whether or not we are Caesar.  His courage and love remain Christ-like at times, yet his brokenness and angst mirrors so much of our own.  With War wrapping up Caesar’s journey, Reeves believes that there are many more stories to tell about this iteration of Apes moving forward.  Still, regardless of where this franchise goes, the impact of Serkis’ Caesar will undoubtedly echo throughout the future.

After all, the life of any good ‘Moses’ would do the same.

Special features on the Blu-ray Combo Pack from Fox include audio commentary by director Matt Reeves, deleted scenes with optional commentary by Reeves, and “Apes: the Meaning of It All,” the in-depth “Waging War for the Planet of the Apes”, “All About Caesar” (the star of the trilogy), “WETA: Pushing Boundaries” on special effects, “Music for Apes,” and “The Apes Saga: An Homage.”