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But the film is warmed and cracked by its flawed, fascinating women.Ĭreative verve all round… Björk: Biophilia Live. The story of a young Catholic nun in 1960s Poland whose world is fleetingly flipped by the discovery - via an out-of-the-blue encounter with her cynical, hard-drinking communist aunt - that she was born Jewish, Pawlikowski’s film initially threatens impenetrable perfection in its diagrammatic ironies and exquisite black-and-white compositions. Pawel Pawlikowski’s immaculate comeback film is a loving but incisive two-headed character study that channels mid-career Bergman in its broad-minded investigation of personal faith. Happily, the virtues of Ida (Artificial Eye, 15) are less ambiguously human-driven. Then again, so is his wisecracking, gunslinging, Bradley Cooper-voiced raccoon ally, so perhaps mankind is on the way out after all. Unlike Apes, meanwhile, it actually boasts a human worth saving in the delightful Chris Pratt, a leading man at once rakish and rambunctious: as self-appointed “star lord” Peter Quill, an Indiana Jones-style adventurer who finds himself the target of an extraterrestrial bounty hunt, he’s a pleasingly dude-ish anchor to all the neon-lit intergalactic activity around him. The good news is that it’s very much an “other” Marvel franchise, with a Saturday-matinee earnestness and hip-but-not-glib sense of humour that distinguishes it from its cape-wearing stablemates. The bad news is that James Gunn’s jocular space opera heralds the start of another Marvel franchise. There’s no such grit or rust to be found on any candy-coated surface of Guardians of the Galaxy (Disney, 12). He would hold together even a film less urgently paced and sharply crafted than this one.
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Now a colony leader and morally equitable warlord, Andy Serkis’s Caesar has evolved into a magnetic protagonist, flesh and blood in all but his technical constitution. While the war between man and monkey is more heated than ever in this 2026-set sequel, the human characters here are simpering ciphers compared to the film’s richer, gutsier, considerably hairier ensemble of ape characters, realised with jaw-dropping digital fluidity. Smartly fashioned less as sci-fi than as an all-out, dirt-on-the-lens combat film, it’s the most satisfying Apes adventure since Charlton Heston’s spaceship first crash-landed on not-so-unknown territory. And while both have their individual fighting strengths, you have to hand it to the simians: Matt Reeves’s Dawn of the Planet of the Apes (Fox, 12) is a dynamite extension of a franchise that should by rights have run out of story space-years ago. I t’s genetically modified humanoid apes versus genetically modified humanoid raccoons - well, one raccoon at least - on DVD shelves this week.