Tag Archives: CHARLTON HESTON

APOCALYPSE CINEMA – VISIONS OF POSSIBLE FUTURES (IRREVERENT AND PANIC-FREE POST)

APOCALYPSE CINEMA – VISIONS OF POSSIBLE FUTURES

“It’s the end of the World as we know it – and I feel fine!” Michael Stipe


With the world gripped by the COVID-19 virus threat one’s mind can run amok and look to possible futures. Thus, I thought it interesting to explore some visions of the Apocalypse as seen on the film. I mean you have to hand it to humanity; it’s able to distract itself from the possible end of the world by creating stories and entertainment ABOUT the end of the world!   Here’s TEN of the best I could think of.

***CONTAINS MASSIVE SPOILERS***


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NIGHT OF THE LIVING DEAD (1968) – UNKNOWN CAUSE

George Romero’s seminal classic zombie film gave birth (and death) to a whole subgenre of horror films. The low budget is no barrier to an ingenious concept involving the dead rising up and attempting to wipe out the rest of humanity. Both powerful as a horror narrative and social commentary, it remains one of the most influential films of all time.


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PLANET OF THE APES (1969) – NUCLEAR WAR

Poor old Charlton Heston never had much luck with the future as his characters often ended up in dystopian visions of hell. Such films included: Soylent Green (1973)Omega Man (1971) and the classic Planet of the Apeswhere simian humanoids are running the planet and enslaving the savage natives. One of the great sci-fi epics with probably the greatest film ending of all time, the film remains a timeless vision of the future.


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MAD MAX: ROAD WARRIOR (1981) – NUCLEAR WAR

In between the road-raging original and this brilliant sequel there was some kind of global nuclear meltdown hitherto bringing about a dusty wasteland where fuel is God and humans will kill to get their hands on it!  Out of the dust rises a reluctant hero, Max Rockatansky (Mel Gibson), who strives to survive while battling hordes of petrolheads, psychos and punks! Definitely one of the best sequels of all time, George Miller spectacularly remade it with the equally pulsating Fury Road (2015).



THE TERMINATOR (1984) – ARTIFICIAL INTELLIGENCE

Bloody Internet, sorry Skynet!  We create these wonderful computers to help us with everyday life including our Missile Defence Systems and they turn on us!  Only a Mother and her child – who hasn’t been born yet – can save us from a life of death and slavery at the hands of the machines. Cameron’s seminal sci-fi action film delivers an unforgettable feast of story, concepts and emotion, containing in Sarah Connor’s, one of the best character arcs of all time.


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THE MATRIX (1999) – ALIEN MACHINES / ARTIFICIAL INTELLIGENCE

Damned alien machines enslaving humanity and feasting on our fluids and organs for energy in some sick, twisted vision of a futuristic Harvest festival. Then again, compared to some of the shitty office jobs I’ve had I think I’d choose the “Matrix” over those; just don’t tell me I’m in the Matrix! Neo (Keanu Reeves) chose the other pill and it’s a good job he, Morpheus and Trinity did, because we get some kick-ass slow-motion action out of it.



WATERWORLD (1995) – GLOBAL WARMING

In this future we will basically live in the water and grow gills. Also, pure dirt and water will be our most priceless commodity. Well, that’s what will occur according to this apocalyptic-polar-ice-caps-melting-earth-swimming-pool-with-pirates movie. At the time it was one of the most expensive film flops in history, but IT actually wasn’t THAT bad. Kevin Costner plays a softer and more soaked version of Mad Max, while Dennis Hopper chews up the scenery as the over-the-top Napoleonic baddie at sea.

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TWELVE MONKEYS (1995) – DEADLY VIRUS

Seeing someone close to you die in front of your eyes as a child is not a future you really need is it?  But what if THAT person is. . . Following the opening of this brilliant film, the plot centres around future prisoners being sent back in time to find the cause of the deadly viral apocalypse. The awesome mind of Terry Gilliam filtering Chris Marker’s classic short La Jetée (1962), makes this an intelligent and exciting end-of-the-world blockbuster. Bruce Willis and Brad Pitt are on particularly good form too amidst Gilliam’s frightening visuals.


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28 DAYS LATER (2002) – RAGE VIRUS

Alex Garland and Danny Boyle’s blistering British horror classic springboards a Day of The Triffids style opening as Cillian Murphy wakes up in a seemingly empty London. Alas, he is not alone as he finds, along with a ragtag bunch of survivors, the world has been populated with raging and rapid zombies hellbent on feeding. Boyle directs with a low budget, yet prodigious inventive flair in a modern-day monstrous classic.


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THE WORLD’S END (2013) – ALIEN INVASION

The third in the Edgar Wright, Simon Pegg and Nick Frost ‘Cornetto Trilogy’ is often seen as the weakest of the three. That’s because the first two are so strong, The World’s End suffers slightly in their shadow. However, a stellar British cast all combine brilliantly as a group of friends reuniting to enact the same town pub crawl they had done year’s before. It’s just a shame a bunch of aliens have decided to take over the town at the same bloody time!


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THIS IS THE END (2013) – BIBLICAL APOCAPLYPSE

The end of days has never been so hilarious and dumb as in this Seth Rogen and Evan Goldberg directed apocalyptic comedy. The stellar who’s-who cast of rising Hollywood actors including: Jonah Hill, Rogen, James Franco, Craig Robinson, Jay Baruchel, Danny McBride plus many more cameos turns, all find themselves battling monsters, fiery sinkholes and each other, in an irreverent and gleeful disaster movie.


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DAWN OF THE PLANET OF THE APES (2014) – FILM REVIEW

DAWN OF THE PLANET OF THE APESFILM REVIEW BY PAUL LAIGHT

**SPOILERS AHOY**

Film great. Humans crap.

In my last review I compared going to the cinema like going to a restaurant.  For this review I am going to use another tenuous analogy and say going to the cinema is my equivalent of going to Church.  The director/writer/filmmakers are in my eyes GOD!  The actors are the Priests spreading the word while the popcorn is the body of Christ with Tango or Coca-Cola as the blood. Not that I drink fizzy drinks or sugary  any more as I am currently winning an ongoing dispute between my will power and several unhealthy food addictions.

Anyway, what I’m saying is the Cinema is my holy sanctuary — it means THAT much to me. So if you want to use your phone (texting or going online) or talk about something on your phone such as the latest photo of your own arsehole then I will strike down upon thee with furious vengeance! Well I will ask you to shut up or get out!

In the war between humans’ and apes I was already on the Apes’ side following the excellent blockbuster Rise of the Planet of the Apes  (2011) and even more so after witnessing its’ superlative sequel. Indeed, with the insane ongoing wars, environmental issues, pollution, fracking, plane crashes, arms dealing, dodgy press, corrupt governments, genocide and other disasters such as selfish phone wankers talking at the cinema perhaps it’s time for a change on Earth; a clean slate maybe?  Maybe the apes and other animals deserve a chance of owning this planet and giving peace a chance; something humanity seems incapable of sustaining.

If you didn’t know the Planet of the Apes franchise originated from Pierre Boulle’s wonderfully conceived 1963 novel La Planete des singes  and spawned a plethora of films, merchandise, TV shows, comics, novelisations, comic books, posters and even an animated series.  In the late 60s and 70s they didn’t just milk the cash cow they drained the blood and sold off its’ organs and body parts to an ever hungry audience thirsty for another instalment.

Irrespective of the sloping quality of the various guises it took the intelligence raised in the original source and gave us some serious action and brain-food encompassing themes and historical events such as: Darwinism; dystopic and apocalyptic future visions; civil and social unrest; slavery; man’s inhumanity to animals; medical experimentation; the Vietnam and Cold war; civilisation versus savagery; anthropology; The Frankenstein myth; space and time travel; and many other socio-political and science fictional motifs.  It’s a conceptual and cultural phenomenon. And Dawn of the Planet is a wonderful addition to the series.

Dawn of the Planet of the Apes begins a few years AFTER Caesar led the apes’ escape from captivity depicted so entertainingly in Rise of the Planet of the Apes. He, his wife and children are now living in reasonable harmony in a huge commune of orang-u-tan, gorillas and chimpanzees.  As suggested at the end of the first movie humans have succumbed to a virus which has wiped them off the planet leaving only those with vascular immunity still alive.  These are lead by family man Malcolm (Jason Clarke) and Gary Oldman’s Dreyfus; a man — who like many others — has lost his family to the virus and subsequent societal breakdown. The dramatic meat of the story begins to cook when the apes are disturbed by a party of humans looking for a new energy source via a Dam in the forest.

The film is a real slow-burner as it establishes the rivalry between the apes and humans as they initially form an uneasy truce before outright war eventually begins.  Indeed the first hour or so is very much given to establishing character dynamics with Caesar’s (phenomenal Andy Serkis) leadership of the apes questioned by the scarred Koba (brilliant Toby Kebbell).  This too is reflected in the more peaceful Malcolm seeking to avoid war and co-exist with the apes as opposed to Dreyfus who sees them as nothing more than savage beasts.  Thus the four main protagonists are very rounded and keenly drawn although one criticism of the film is the lack of a powerful female character and one may say, Oldman aside, the humans are a little bland overall. An accusation I cannot say about the apes who are rendered incredibly by the massive special effect team at WETA.

By allowing the slow build up characters, spiked by some in-fighting in each of the camps, the tension rises and anticipation of the battle rises to fever pitch.  It is Koba who precipitates the war as he is driven by his anger at being experimented on by humans’ years before.  While Caesar leads with majesty and quiet authority, Koba is driven by revenge, pain and hate and this passion drives him to attack the humans with full ape force.  What follows is one of the most memorable set-pieces I have seen at the cinema this year with apes smashing down the human compound with violent abandon.  The image of a dual-gunned Koba rampaging on horseback as fire burns behind him is a cinematic moment which will stay in my memory for sometime.

Matt Reeves is an excellent genre filmmaker and he maintains the great standard set by Rupert Wyatt from Rise of the Planet of the Apes. Reeves, the writers, cast and his battalion of special effects people have produced an intelligent blockbuster which keeps the drama burning throughout culminating in a stupendous battle sequence at the end.  The film is a portent telling us once again that humans will reap suffering if they continue to tamper with nature in the name of progress.  It also reflects the importance of family, acceptance and tolerance of others in order find peace; war and in particular gorilla warfare (sorry) is not the way forward.  There’s one soppy and jarring bit of script coincidence where Caesar goes back to the house he grew up in but that was not enough to ruin another excellent film inspired by Boulle’s literary classic. Those still haunted by Tim Burton’s atrocious 2001 effort will be very grateful for this entry in the franchise. Altogether now: Hail Caesar! Hail Caesar!