Rupert Wyatt
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Despite a substantively delayed release and let’s go with “unenthusiastic” marketing, Captive State still made goo-goo eyes at those of us who have been hankering for a spiritual successor to District 9 for a decade.
Much like Neill Blomkamp's District 9, Captive State is based on a premise that's a clear-cut parable for real world issues (in this case, American imperialism) and taps into present-day concerns about government surveillance and the growing economic divide between the ultra-wealthy and everyone else.
Despite nods in the direction of such worthy endeavors as Attack the Block and District 9 , Captive State is basically a World War II picture reconfigured for a sci-fi crowd, with outer space invaders cast as the Nazis and humans repping the two sides of the French flip: resistance fighters and collaborators.
Attempts to assemble it into a workable package in the editing room didn’t work, so we’re left with a weird cross between District 9 and The Battle of Algiers that doesn’t do either of those apparent inspirations justice.
Por la construcción obsesiva de un mundo realista, esta cinta le debe más a District 9 (que tiene varias referencias directas en la cinta) o a Monsters que a Independence Day .
At times,“Captive State” plays like a “Cloverfield”/”District 9” type film.
A disappointing thriller from Rise of the Planet of the Apes director Rupert Wyatt, The Gambler is a remake of the 1974 James Caan gem of the same name, which itself was loosely based on a 1867 novella by Fyodor Dostoyevsky, one of the grandpapas of existentialism.
While stylishly composed and edited with music composed Jon Brion (and Theo Green) that recalls the artist’s work with Paul Thomas Anderson, The Gambler never quite takes off.
Directed by Rise of the Planet of the Apes helmer Rupert Wyatt, The Gambler has a solid visual shorthand and style to it that is actually one of the better aspects of the film.
Rupert Wyatt’s latest film — an unnecessary remake of Karel Reisz’s James Caan-starring The Gambler — is one more glaring example.
Pointless remakes are pretty thick on the ground nowadays, so one shouldn’t be surprised by “The Gambler,” Rupert Wyatt’s new take on Karel Reisz’s 1974 film.
Directed by Rupert Wyatt (Rise of the Planet of the Apes) and written by William Monahan (The Departed, Kingdom of Heaven), The Gambler borrows its structure from James Toback’s 1974 cult classic, which starred James Caan as a man similarly consumed by his vice (for Toback, who has admitted he had a severe gambling problem, the movie was a work of cathartic self-autobiography).
Still, writer William Monaghan ("The Departed") and director Rupert Wyatt ("Rise of the Planet of the Apes") tweak and modernize the less-engaging 1974 film of the same name, undeniably justifying the effort.
Relocated from New York to Los Angeles and directed by Rupert Wyatt ("Rise of the Planet of the Apes") from a screenplay adapted by William Monahan ( "The Departed" ), the new version can be seen as aspiring to be an analogue to that earlier style, most interested in fashioning itself into an existential examination of modern manhood and its discontents.
The remake was directed by Rupert Wyatt (“Rise of the Planet of the Apes”) and reunites Wahlberg with William Monahan, screenwriter of “The Departed.”
Forty years later, in their attempt to remake the original, director Rupert Wyatt ("Rise of the Planet of the Apes") and screenwriter William Monahan ("The Departed") should have heeded that advice.
Brazil (1985) is a dystopian SF, Jacob's Ladder (1990) is an angsty Vietnam drama, Donnie Darko (2001) is an apocalyptic teen movie, Stay (2005) is a nervy psychological mystery, but despite their generic differences, all of these films (as well as the last three features made by David Lynch) ultimately owe their unconventional chronologies, double-dealing plots and twist endings to the original incidents at Owl Creek Bridge â and now Rupert Wyatt has transferred Bierce's escapist themes to the genre to which they are arguably best suited: the prison-break movie.
Escape from Alcatraz (1979)
Directed by Don Siegel
influenced The Escapist (2008), Rise of the Planet of the Apes (2011)
Plot
What makes this different from other prison, and by extension, prison break films like The Great Escape or Escape From Alcatraz, is first time helmer Rupert Wyatt's forceful choice to chop up timelines.
Had the screenplay by co-writers Rupert Wyatt and Damian Lewis followed a linear plot, it would have been rather standard, bland and uninspired, especially given that there are so many classic, prison escape movies that tread the same water, such as Escape from Alcatraz, The Shawshank Redemption, Cool Hand Luke, The Grand Illusion and Papillon, among others.
As diligently as Clint Eastwood in “Escape from Alcatraz,” Caesar also plots a mass breakout.
I could describe Rise of the Planet of the Apes as Escape from Alcatraz, except with apes, but that would make it sound like a movie you might actually want to see.
Had the screenplay by co-writers Rupert Wyatt and Damian Lewis followed a linear plot, it would have been rather standard, bland and uninspired, especially given that there are so many classic, prison escape movies that tread the same water, such as Escape from Alcatraz, The Shawshank Redemption, Cool Hand Luke, The Grand Illusion and Papillon, among others.
No one will mistake The Escapist for Robert Bresson’s contemplative A Man Escaped nor Frank Darabont’s sentimental favorite The Shawshank Redemption.
Unless you're a genius like Robert Altman, whose "California Split" (1974) is one of the great portraits of charismatically seedy nihilism, gambling (or any addiction) is a lousy bet as a movie subject because it is repetitious and boring.
Released just a month after “California Split,” Robert Altman’s more idiosyncratic take on the pleasures and perils of going all in, Reisz’s original “Gambler” marked the heavily autobiographical screenwriting debut of James Toback, who initially objected when Paramount announced plans for a remake without his knowledge.
Another ostensibly cerebral pseudo-alien invasion film is "Starship Troopers" (directed by Paul Verhoeven in 1997), which inverted the concept by having human beings be the invaders of an innocent planet in a sci-fi film that emphasized ultra-gory schlock.
It’s just his thing, the same way drinking was Nicolas Cage’s thing in “Leaving Las Vegas.”
There have been a few movies like that — “Leaving Las Vegas” comes to mind — but they’re hard to pull off.
“The Gambler” is as much a film about addiction as “The Lost Weekend” or “Leaving Las Vegas,” except the source of the addiction is the lure of the tables, rather than a substance.
Gambling as an addiction isn't the focus here — this isn't Leaving Las Vegas with playing cards replacing the booze bottles — which is fine since the film is content operating as a tightly wound drama about a man with self-destructive impulses.
Primate (2026)
Directed by Johannes Roberts
influenced by Rise of the Planet of the Apes (2011)
Themes
There is something beautiful about the motion capture experiences behind movies like Rise of the Planet of the Apes.
Rise of the Planet of the Apes…
Tinker Tailor Soldier Spy (2011)
Directed by Tomas Alfredson
influenced Captive State (2019)
Visuals
Captive State isn’t just a burst of youthful rage; it’s also a sly jigsaw puzzle with an aha! final shot worthy of the recent movie version of John le Carré’s Tinker Tailor Soldier Spy .
I’m reminded of the film “ Tinker Tailor Soldier Spy ” when pamphlets were handed out prior beforehand to explain code names, code phrases and other items to know before watching the movie.
Those walking into The Gambler expecting another chip-splashing thriller like 21 or Rounders are going to be sorely disappointed, as William Monahan’s script focuses heavily on a downward-spiralling character whose narcissism and suicidal subconscious translates into unhealthy, life-threatening habits.
(See also: Gretchen Mol in Rounders, Lauren Hutton in the original Gambler, etc.)
“The Gambler” is a card-thriller, but it’s no “Rounders.”
Brazil (1985) is a dystopian SF, Jacob's Ladder (1990) is an angsty Vietnam drama, Donnie Darko (2001) is an apocalyptic teen movie, Stay (2005) is a nervy psychological mystery, but despite their generic differences, all of these films (as well as the last three features made by David Lynch) ultimately owe their unconventional chronologies, double-dealing plots and twist endings to the original incidents at Owl Creek Bridge â and now Rupert Wyatt has transferred Bierce's escapist themes to the genre to which they are arguably best suited: the prison-break movie.
As I asked when watching Christopher Walken make a career out of playing Russian roulette in “The Deer Hunter”: How did this guy manage to stay alive this long?
Wahlberg isn’t an actor you’d automatically cast as a college professor, but then — in 1974 — neither was Caan, who was still best known for playing Sonny Corleone in The Godfather.
Terminator Genisys (2015)
Directed by Alan Taylor
influenced by Rise of the Planet of the Apes (2011)
Themes Plot
When you’ve run through Michael Biehn, Christian Bale and Sam Worthington, and the only actors left to play your “heroes” are little-known Aussies from “Rise of the Planet of the Apes” (Jason Clarke) and the “Insurgent” series (Jai Courtney)…
And let's not forget Pacific Rim, Star Trek Into Darkness, Godzilla and Rise of the Planet of the Apes before that.
On the day that John Connor (Jason Clarke, Rise of the Planet of the Apes ) wins the War Against the Machines, Kyle Reese (Jai Courtney, The Divergent Series: Insurgent ) is sent back in time to prevent his mother, Sarah Connor (Emilia Clarke, TV’s Game of Thrones ), from being killed by a T-800 model Terminator (Arnold Schwarzenegger, The Expendables 3 ).
Se incluyen referencias necesarias a los dos primeros filmes de Cameron y se niegan e ignoran los otros dos filmes y, como si se tratara de un requisito en Hollywood, se recurre nuevamente a la ciudad de San Francisco y a la destrucción del imponente puente Golden Gate, tal como ya lo mostró Pacific Rim (2013), Godzilla (2014), Rise of the Planet of the Apes (2014) y San Andreas (2015).
Wow! Similarities to James Toback’s script for The Gambler (1974), in which an American Jewish prince involves himself in black exploitation, suggests both an absurdist remake and a conflicted legacy.
There’s a heavy suggestion that Kevin has glimpsed something mystical deep within the opal and wants to hold onto it for luck, yet Howard could certainly do with a fair bit of that himself, as he makes several more bad decisions and gives the similarly foolish hero of The Gambler (original 1974, remake 2014) a run for his ill-gotten money.
(In fact, it goes so far in the other direction that it plays like the enforced happy ending of “The Last Laugh.”
The Gambler is a remake of a forceful 1974 drama that was scripted (with a fair degree of autobiography) by James Toback, skilfully played by James Caan and directed by Karel Reisz (The French Lieutenant’s Woman).
“The Gambler” is as much a film about addiction as “The Lost Weekend” or “Leaving Las Vegas,” except the source of the addiction is the lure of the tables, rather than a substance.