Dawn of the Planet of the Apes (2014)

The critic calls it a gripping account of interspecies conflict that maintains tension, improves on the prior film, and delivers a powerful humanistic statement. Andy Serkis’s expressive, soulful performance as Caesar is singled out for particular praise.

The critic highlights the strong tension between and within the species, outstanding motion-capture performances especially by Serkis and Kebbell, and the impressive balance of action and intimate scenes. The film is seen as a bleak yet hopeful technical and dramatic achievement that elevates the series.

The film is the best of the summer's large-scale studio franchise movies, technically impressive and viscerally exciting while also giving viewers something to think and care about. The critic singles out the apes' sophisticated civilization and Andy Serkis's motion-capture performance as Caesar for particular praise.

The review describes it as an excellent post-apocalyptic interspecies bromance with a humanist thrust and hope for peace between apes and humans. It singles out the triumph of design, animation, and the magnificent throne-room scene for praise.

The sequel is a visual feast worth seeing for the apes alone, with impressive motion-capture work bringing intelligent primate society to life in a way that outdoes the previous film. The critic notes that humans are less compelling than the apes but praises the technical achievement overall.

This is a storming, soulful blockbuster with incredible ape characterisation and top-end CGI that plays out like an epic Shakespearean tale of betrayal and brutality.

The film is praised for highlighting incremental tensions and heroic nuance between species rather than all-out conflict, with strong mo-cap effects and a complex situation. It singles out the performances of Serkis and Kebbell and the effects for praise while noting some average dialogue.

The film balances sympathies across the human-ape divide in a striking addition to the saga, with Reeves handling action sequences with aplomb while keeping focus on character. It praises the breathtaking digital effects and motion-capture work that tells the story from the apes' point of view.

Reeves's sequel never allows extraordinary special effects to outgun emotion and intelligence, delivering patience, genuine ideas about diplomacy and leadership, and impressive motion-capture that serves character. It calls the film impressively un-stupid despite risks of silliness.

The effects are jawdropping and action sequences are marshalled superbly, but the script prioritises brawn over brains with signposted twists and underdeveloped human characters.

This is a bleak but spectacular and technically superior sequel that bests its predecessor as a vivid war drama with strong performances. The critic highlights the shift to a more assertive genre approach under new director Matt Reeves and the central role of Andy Serkis as Caesar.

The critic praises the film's technical achievements in performance capture and effects, along with the expressive performances by Serkis and Kebbell that make the apes emotionally compelling. The story is seen as somewhat predictable and narrowly focused on family and conflict themes rather than broader ideas.

The sequel is heavier on ape-vs-human action than its predecessor but lighter on intimate drama, making it less emotionally resonant though better equipped as a midsummer box-office earner.

The film fails to recapture the surprise of its predecessor and lacks genuine human characters, relying instead on familiar franchise tropes and spectacular but unsurprising CGI set pieces.

The critic finds the film slow, portentous and overly serious, with too much emphasis on technical photo-realism at the expense of dramatic satisfaction or fun compared to the previous entry. Serkis's performance is admired but criticized for taking itself too seriously in a dimly lit, franchise-building story.

The critic calls it a heartfelt, exhilarating, tragic, and profound summer blockbuster that thoughtfully explores the cost of war, the fragility of communities, and the power of dominant individuals through a microcosm of clashing civilizations. Single out for praise is the character-driven story anchored by outstanding motion-capture performances from Andy Serkis and Toby Kebbell.

The critic calls the film not just a superior sequel but one of the best in the franchise and a standout sci-fi film of 2014, rich and moving with a thoughtful tone. They single out the complex character dynamics and emotional weight of the central conflict and battle scenes for particular praise.

The review hails it as a genuine, engrossing blockbuster with serious themes, complex moral conflicts, and emotional stakes that feels like a drama more than a typical action film. It singles out Matt Reeves' direction for its thoughtful character-driven approach and the motion-capture work that makes the apes vividly compelling.

The critic calls it a high point of the year, praising Matt Reeves for blending Weta's technical mastery with strong performances and an intelligent script into a philosophically rich film. They single out the emotional depth of the ape performances and the complex moral dynamics between and within the groups.

The critic finds the film makes a strong case for the apes while acknowledging nuance on both sides, praising how it establishes unique ape characters, family and trust themes, and avoids simplistic good-vs-bad portrayals. Single out for praise is the groundbreaking motion-capture work by the actors and Weta Digital that brings humanity and depth to the apes under confident direction from Matt Reeves.

The critic finds the film solidly entertaining as an adventure but a step down from its predecessor, lacking big ideas and relying on flatter characters and script issues. They single out Andy Serkis's motion-capture performance as extraordinary and the CG effects as superb.