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Dreyfus arms his community with the Fort Point armory. Koba, who has a vendetta against humans for his mistreatment as a laboratory test subject, discovers the armory and confronts Caesar, accusing him of loving humans more than apes. Caesar beats Koba in response but refrains from killing him. Koba later returns to the armory, kills two guards, and secretly kills Carver after the humans succeed in repairing the generator. Koba takes advantage of their celebration to covertly set fire to the apes' home. He then shoots Caesar, who falls into an underbrush. Koba frames the humans for Caesar's apparent death and the fire to justify war. Taking command, he leads the ape army to San Francisco, where they plunder the armory and mount a full-scale assault on the humans. Despite taking heavy casualties, the apes breach the building and imprison the humans as Dreyfus flees underground. While refusing orders to kill unarmed humans, Ash cites Caesar's teachings, and Koba throws him to his death. He also has any other ape who is loyal to Caesar imprisoned, including Maurice, Luca, and Rocket.
As this sequel begins, Franco's character has been dead for a decade, and the apes have had plenty of time to create their version of civilization. But in real time, it's been just three years since the Rise movie. In the world of motion picture technology, though, that's an eternity. Long enough to create computer graphics gear robust enough to take out of the studio and deep into a real forest. And long enough that moviemakers no longer need to give a recognizable Hollywood star top billing to bring in audiences.
"Dawn of the Planet of the Apes" is loud, smart and ferociously committed to its premise, and it leaves an intriguingly bitter aftertaste. Like its predecessor, 2011's "Rise of the Planet of the Apes," it borrows situations and images from the 1960s and '70s "Apes" films and re-creates them as epic dramas. These new installments in the series aren't as satirical as the original "Apes" movies, but they're just as playfully political; the biggest difference is the sense of intimacy. The politics are personal, and they play out through the character of Caesar (Andy Serkis).
Contrast the ending of the 1968 film with the ending of the 2001 remake. In a similar attempt at a twist climax, the protagonist (this time, Mark Wahlberg) escapes the ape planet in his space ship, crash-landing in Washington D.C., skipping across the mall past the Washington Monument and the Reflecting Pool, to land right in front of the Lincoln Memorial.
The nosedive in ticket sales coincides with the increasing popularity of digital downloads, rentals and original streaming content. Going to the movies is not the most economical affair, after all. Online series like Netflix's celebrated Orange Is the New Black and feature films immediately available for rent pose a threat to the theater-centric economy. Why spend $30 at the movies when you can enjoy something from home that is, more often than not, better than what's showing at the theater? 2b1af7f3a8