Review: "The Square"

The Cannes Film Festival's highest award, the Palme d'Or, has increasingly become an emblem of European disdain for American/British cinema rather than a token of respect for the film that wins it.

Once a major indication of the best foreign films coming down the pike, it's reached the point of such irrelevance that it's now uncommon for the Palme d'Or winner to even receive an extensive theatrical release in the U.S. If you can name last year's winner without the help of Google -- it was Ken Loach's "I, Daniel Blake," for the record -- then I bow before your film trivia superiority.

This year's winner, "The Square," is a refreshing departure, a Swedish film that's actually thoughtful and engaging -- and will actually be seen by people outside of New York, L.A. and Chicago. Written and directed by Ruben Östlund, who made the terrific "Force Majeure" a few years ago, it's a rumination on art, morality and power.

Our protagonist is Christian (Claes Bang), the chief artistic director of a major museum housed in the former Stockholm castle of the Swedish royal family. In the opening scene he is interviewed in English by an American television journalist, Anne (Elisabeth Moss), who seems entirely dim and unprepared for the questions she is to ask. Christian labors not to be condescending, talking intelligently and passionately about the role between art, the museums that present it and their patrons.

His museum is about to debut a new outdoor exhibit, from which the film takes its title, a square of light amidst the stone tiles that is, well, a trifle boring. It's supposed to challenge guests to think about how they regard each other and the spaces they share. "The square is a sanctuary of trust and caring. Within it, we all share equal rights and obligations," reads the display plaque.

Challenged to drum up excitement and donations, Christian and his team have engaged some young hotshot marketers who have very... bold ideas about how to promote The Square. Unfortunately, Christian is too engaged in his own personal events to properly oversee the plan.

Early in the film Christian has his pocket picked by some inspired thieves with a complex con job. Rather than simply call the police, Christian pressures a young employee (Christopher Læssø) to help him find his smartphone via its internal locator. Then they hatch a scheme to  have his effects returned, and things grow more and more dire.

I was occasionally bewildered by "The Square," but never bored by it. For example, in one character's apartment we are surprised to see a gorilla, apparently living there as a companion -- a fact that goes uncommented upon by anyone.

Later, the theme of beastly behavior is reprised in what is undoubtedly the film's most pivotal scene. At a lavish fundraiser at the museum for its wealthiest patrons, a piece of performance art is debuted in which a man (Terry Notary) portrays a great ape. The guests are warned they are about to encounter a savage creature, but they will be in no danger if they acquiesce to its dominance -- don't look him in the eye, etc.

The dynamic shifts as the scene plays on, and it becomes a parable about when and how we should separate performance and reality. Are acts really deplorable if they are committed under the rubric of "art?" At one point should the artist and audience interact? Be opposed?

These questions are further explored in the audience's relationship to Christian. At first a seemingly benevolent figure, he gradually shrinks in our eyes as he becomes more and more willing to trade his integrity in order to protect himself and his position.

At one point he becomes engaged in a conflict with a boy of about age 12. The kid is being entirely unreasonable, and acting as if a grown man should be subservient to his demands. But how Christian responds is even more troubling.

Men and beasts, adults and children, artists and audiences -- these are relationships that often balance according to the whims of those who hold power, and how they choose to wield it. There are times in life where we must agree to be dominated, and others where we are the one who dominates, and not enough occasions upon which we simply exchange trust.

Video review: "War for the Planet of the Apes"

“War for the Planet of the Apes” didn’t do as well commercially and critically as its two predecessors, virtually reassuring that the reboot of the franchise will end as a trilogy. That’s a shame, because this is one of the best threesomes to come along in the action/fantasy wing of moviedom – due in large part to its eschewing of traditional summer movie tropes.

Directed by Matt Reeves from a screenplay he wrote with Mark Bomback, “War” is a surprisingly smart and contemplative film. There are plenty of action scenes, with human actors portraying apes through CGI and motion capture.

Once again Caesar is played by Andy Serkis, a pioneer of his own in the realm of motion capture. But for me it’s the quiet moments that are most technically impressive, as subtle emotions flicker across Caesar’s face. You have to pinch yourself to be reminded that what you’re seeing is made up completely of pixels mapped over Serkis’ visage.

The tale continues the journey of Caesar, who is more or less the Adam of talking apes within the franchise’s mythology. Here he must face off with a mad human colonel (Woody Harrelson) who seems intent on eradicating the simians – and a good chunk of the remaining humans, too.

“War” has often biblical overtones, as Caesar orders his tribe to go on an Exodus-like journey to escape the colonel’s clutches, while he and a few loyal followers stay behind to face him down. They also meet new apes, some who will become allies but also willing slaves of the humans.

Sad, thrilling and introspective, “War for the Planet of the Apes” stands apart from the typical summer blockbuster fare.

Bonus features are excellent. The DVD comes with a feature-length commentary track by director Reeves, a gallery of concept art and a featurette on Caesar as a protagonist. There’s also a nifty digital feature that shows side-by-side comparisons of 10 scenes with the raw performance capture next to the final CGI version.

Upgrade to the Blu-ray and you add 10 deleted scenes with commentary, four more featurettes and “Waging War for the Planet of the Apes,” an in-depth documentary on the making of the film.

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Review: "War for the Planet of the Apes"

Can a summer blockbuster film also be contemplative and downright sensitive? The third entry in the reboot of the “Planet of the Apes” certainly manages to achieve that, in a movie with thrills but one that truly engrosses with a probing study of its central character and the nature of leadership.

“War for the Planet of the Apes” takes us a few more years down the road, about 15 years after the outbreak of a simian flu that killed off most humans while granting all forms of apes higher intelligence. Caesar, the leader of the simians played through motion capture by Andy Serkis, has tried his best to avoid conflict with the remnants of mankind, who seem insistent about wiping out their genetic cousins before expiring themselves.

Grayer and grimmer, Caesar has grown tired of always turning the other cheek, and is ready for some payback.

Three movies in, the CGI effects for Caesar and the other apes continue to astound. The subtlest emotions play out on his face, especially eyes that know rage, despair, bravery and tenderness.

The antagonist is Woody Harrelson as the Colonel, a seemingly close relation to Kurtz from “Apocalypse Now,” who’s gone off the deep end while carrying out his own particular sense of mission. Uncharacteristically bloated and stiff, Harrelson comes across more as more blinkered than crazed.

Caesar and his kind are astonished to find not only apes crucified on stakes, but also other human soldiers. Both are branded with the alpha and omega symbols, and it’s clear the Colonel’s crew is more focused on end times than the beginning.

After their first face-to-face encounter goes badly for the apes, Caesar is determined to have his revenge, even if it means abandoning his clan while they go on an Exodus-like journey for a new homeland. The biblical references are never far from hand, and Caesar’s plight often takes on a Shakespearean quality as the hero must endure continuous tragedies and challenges, including confronting his own rash decisions.

Joining him on his quest are Maurice (Karin Konoval), a wise orangutan, and Rocket (Terry Notary), a former adversary turned loyal and muscular presence. Along the way they pick up a mute human girl (Amiah Miller), whose angelic demeanor reminds Caesar of his own losses. And they meet Bad Ape (Steve Zahn), a zoo chimpanzee-turned-kooky-hermit who somehow acquired the power of speech -- and comedic relief -- separate from Caesar’s tribe.

One of the more disturbing aspects of this movie is the “donkeys” -- apes who have willingly turned themselves over as slaves to the humans in exchange for better treatment. Among them is Red (Ty Olsson), a mighty gorilla who treats Caesar cruelly but is impressed with his resolve.

Director Matt Reeves co-wrote the script with Mark Bomback, a holdover from the last movie. “War” has an almost elegiac quality, underscored by the restrained music by Michael Giacchino, which often slims down to just a few affecting trills of piano notes.

Amidst a summer explosion of dumb popcorn movies, it’s reassuring to see that it’s still possible to do big-budget filmmaking with brains and heart.