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A growing nation of genetically evolved apes led by Caesar is threatened by a band of human survivors of the devastating virus unleashed a decade earlier. They reach a fragile peace, but it proves short-lived, as both sides are brought to the brink of a war that will determine who will emerge as Earth's dominant species.
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Dawn of the Planet of the Apes. DIGITAL DOWNLOAD. DAWN OF THE PLANET OF THE APES (2014) DIGITAL HD. Download Dawn of the Planet of the Apes (2014) Full Movie on CooLMoviez - Ten years after a pandemic disease, apes who have survived it are drawn into battle with a group of human survivors. Dawn of the Planet of the Apes torrent torhd and Dawn of the Planet of the Apes subtitles movie download synopsis A growing nation of genetically evolved apes led by Caesar is threatened by a band of human survivors of the devastating virus unleashed a decade earlier. Nov 22, 2014 - It's genetically modified humanoid apes versus genetically modified humanoid raccoons — well, one raccoon at least — on DVD shelves this. They reach a fragile peace, but it proves short-lived, as both sides are brought to the brink of a war that will determine who will emerge as Earth’s dominant species., Dawn of the Planet of the Apes 2014 Dual Audio 720p BluRay ESubs Download, Dawn of the Planet of the Apes Dual Audio Download,Dawn of the Planet of the Apes 2014 hindi dubbed. Action, Adventure, Drama, Sci-Fi. 2014 Year 130 Mins 7.6 Imdb. Gary Oldman, Keri Russell, Andy Serkis, Kodi Smit-McPhee. Dawn of the Planet of the Apes is a movie starring Gary Oldman, Keri Russell, and Andy Serkis.
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Mark Bomback, Rick Jaffa, Amanda Silver, Rick Jaffa (based on characters created by), Amanda Silver (based on characters created by)
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It’s genetically modified humanoid apes versus genetically modified humanoid raccoons — well, one raccoon at least — on DVD shelves this week. 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. 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.
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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. 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. He would hold together even a film less urgently paced and sharply crafted than this one.
There’s no such grit or rust to be found on any candy-coated surface of Guardians of the Galaxy (Disney, 12). The bad news is that James Gunn’s jocular space opera heralds the start of another Marvel franchise. 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. 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. Then again, so is his wisecracking, gunslinging, Bradley Cooper-voiced raccoon ally, so perhaps mankind is on the way out after all.
Happily, the virtues of Ida (Artificial Eye, 15) are less ambiguously human-driven. 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. 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. But the film is warmed and cracked by its flawed, fascinating women.
More jagged, but just as generous in its articulation of loss and improbable female solidarity, is Zach Clark’s wonderful White Reindeer (Matchbox Films, 15), which sadly skipped UK cinemas despite being the best alterna-Christmas film in approximately an eon. But it’s here now, and just in time: this wry, deadpan tale of a yuletide-obsessed estate agent who finds the silly season ruined by her husband’s murder is just the right adult antidote for the too-early tide of jingling bells already sweeping across the country. Those expecting a Bad Santa-style snarkfest, however, may be surprised by the deep reserves of empathy and optimism in Clark’s complex comedy: there’s true Christmas spirit here between the cocaine lines.
Two wilfully bizarre French visions compete for the attention of the open-minded this week, starting with Michel Gondry’s often dazzlingly imperfect Mood Indigo (Studiocanal, 12) – a deconstruction-by-decoupage of the romantic comedy, at least until a life-threatening waterlily starts growing in Audrey Tautou’s lungs. It’s precisely as precious as that makes it sound, though still not quite as sleekly strange asYou and the Night(Peccadillo, 18) in which an aggravatingly beautiful, bourgeois young couple host an M83-soundtracked orgy with alternatively tacky and titillating results. Guests at the handsome do include Eric Cantona as – wait for it – the Stud.
Even these films’ combined nuttiness, however, are no match for Björk, whose winningly peculiar stage presence and increasingly lofty multimedia imagination have been beautifully documented by Peter Strickland and Nick Fenton inBjörk: Biophilia Live (One Little Indian) – a rare concert film that matches its subject for creative verve, it’s available in an elegant CD/DVD box set that should find its way on to various seasonal gift lists.
Over in the streaming department, Hollywood classics keep turning up in the most unexpected places. This week, there’s a treasure trove of free-to-access golden era gems at the unlikely looking “global TV channel” Viki: with the service dominated by commercial Asian fare with limited crossover appeal, the likes of Sin Takes a Holiday, a jaunty Constance Bennett romcom from 1930, or All Quiet on the Western Front, the enduring war standard from the same year, seem there almost by accident. The transfers can be scratchy, but when the star attraction snaps and shimmers as much as much Carole Lombard in William A Wellman’s still-sly, still-sparkling 1937 black comedy Nothing Sacred, that’s a secondary concern.
Rob Kazinsky
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