One is set to be a blockbuster, but the other is one of those critically acclaimed films that can expect to enjoy only a modest success at the box office.
is a surprisingly restrained addition to the franchise. Indeed, the apes have grown so civilised and reflective that one expects them to break out the yoga mat at any moment.
This woman, Mae , turns out to be intelligent in many ways, although, like all humans, she’s more violent and less trustworthy than the chimps, who are textbook noble savages. Here we have a hint of that fantasy of all things indigenous being pure and sacred, while contemporary Western society is hopelessly debased.
Those areas where the films keep advancing are costume, make-up and special effects, which have rendered the ape impersonation almost perfect. This extends to skillful mimickry of the way various apes move. It’s only when we get up close that we catch a glimpse of the actor behind the elaborate façade. Yet this degree of perfection only tends to throw the leaden nature of the narrative into sharper relief.
The mother-son relationship develops cracks when Minato starts acting strangely, snipping away at his own hair, coming home from school with only one shoe. One evening he doesn’t come home at all, being eventually located in an old train tunnel hidden in the nearby woods. When he sustains an injury to his ear, Saori heads to his school to see what’s going on. Minato has laid the blame on his teacher, Mr Hori , who has also allegedly accused the boy of having a pig’s brain.
While we are trying to understand the relationship between Minato and Yori, Mr Hori is being persecuted by reporters and slowly driven mad. As we flash back and forth between past and present, Hori’s true role in the story begins to emerge.
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