My highly reliable public opinion sampling system, consisting entirely of taking the word of taxi drivers for everything, leads me to the conclusion that "Planet of the Apes" is one of this year's most eagerly anticipated movies.

Somehow the chemistry has gone to work, the word has gotten around and the mass audience is interested. There was even a line in front of the theater Friday morning, and that's a sight you don't see every day.

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Since "Planet" already seems to have found its audience, then, I thought I'd address this review to the others -- to those who wouldn't be caught dead going to see anything called "Planet of the Apes."

I can understand their bias; until I started reviewing movies I probably wouldn't have gone to see it either. And any number of friends have been telling me they've heard it was "awful" -- when, in fact, nobody in Chicago had seen it until Friday and the reviews from other cities have been pretty good.

What they were really implying was that any movie named "Planet of the Apes'' had to be awful. This kind of snobbery may be good for a chuckle or two, but those who practice it miss a lot of entertaining movies.

"Planet of the Apes" is one. It is not great, or significant, or profound. Occasionally it is distractingly cute, as when the apes rewrite one clich after another: "Man see, Man do," for example, or "To apes, all men look alike." But, this is part of the fun. So is that much-publicized ape makeup: it does look real, by jingo, and after awhile you really do start thinking of those apes as individuals.

The plot is cast in the time-proven Hollywood adventure tradition. A space explorer from Earth (Charlton Heston) crash-lands on an unknown planet where apes rank higher than men on the evolutionary ladder. He tries to convince his captors he is intelligent; there are some good action sequences; some amusing twists; some easily digestible sociological and philosophical points, and a thoroughly satisfactory surprise ending.

Heston is by now just about the only Hollywood actor capable of playing archetypal heroes -- Moses, Ben-Hur, the last man alive, etc. -- and there must be a reason. In stature and screen presence, he is heroic and he is noble; you've got to admit it. He's right for this role, however preposterous it really may be, and he carries the film effortlessly. The actors hidden behind that ape makeup (Kim Hunter, Maurice Evans, Roddy McDowall, etc.) are difficult to review as people, but they're fine as apes.

What I'm getting at, I guess, is that "Planet of the Apes" is much better than I expected it to be. It is quickly paced, completely entertaining, and its philosophical pretensions don't get in the way.

2001: A Space Odyssey is a 1968 science-fiction film directed by Stanley Kubrick. The film was written at the same time as the novel by Arthur C. Clarke. It initially received mixed reviews at the time of its release for its slow pace, but today it has now come to be recognized by many professional film critics as one of the greatest and most influential films ever made.

2001: A Space Odyssey (1968) resulted in the collaboration between Arthur C. Clarke and Stanley Kubrick, where both the novel and film, of the same name, came out the same year. Clarke himself said the novel should have been credited to "Clarke and Kubrick", just like the movie was credited to "Kubrick and Clarke". The novel and the film are both based on some of Clarke's earlier short stories, most prominently The Sentinel, and they largely follow the same plot with minor differences.[1]

2001: A Space Odyssey has been noted for its scientific accuracy, sound in place of traditional narrative techniques, and minimal use of dialogue. Kubrick decided to have a prominent use of Johann Strauss II's The Blue Danube waltz because Kubrick made an association with the spinning motion of satellites and the role of spinning dancers in a waltz or ballet. Richard Strauss' symphonic poem Also sprach Zarathustra was also used to portray the evolution of man theorized in a work of the same name.[2]

The film begins with a group of prehistoric apes. The apes are driven from their water hole by a rival group. After spending a night in a cave, the apes encounter the Monolith, which they approach with a mix of curiosity and fear.

Soon after, the apes begin to learn to use bones as weapons. They realized that this can be used to hunt and allowed them to eat meat. They then return to the water hole and drive out the rival group of apes. One of the apes triumphantly throws a bone into the air, and the film cuts to a space nuclear weapon orbiting the Earth.

A shuttle is seen leaving the Earth. It's only passenger is Dr. Heywood Floyd, who is travelling to Space Station V. While aboard the station, Floyd meets up with Dr. Andrei Smyslov, a Russian scientist who is interested in knowing the details of his visit to the Moon. Floyd refuses to tell him and leaves.

Floyd takes a shuttle from the station to the Moon, where he attends a press conference discussing the recent discovery of an extraterrestrial artifact on the Lunar surface. Along with a group of scientists, he takes a Moonbus to the site where the object is located.

It turns out the artifact is another Monolith, identified as TMA-1. The scientists try to get a photograph of the Monolith, but are interrupted as the artifact is exposed to the sun. It sends an ear-piercing signal.

A title card reveals that 18 months have passed. A spaceship, Discovery 1, is sent towards Jupiter with a crew of five: Dr. David Bowman, Dr. Frank Poole, Dr. Jack Kimball, Dr. Charles Hunter, and Dr. Victor Kaminsky. Bowman and Poole are the only two members of the crew who are not in suspended animation. Also on board is the artificially-intelligent computer HAL 9000, who runs many of the ships functions.

Bowman is busy drawing still-life sketches of the hibernating crew, which he shows to HAL, who is impressed. He then asks Bowman about the mission, but cuts himself off to report a fault in the AE-35 Unit, which is essential to maintaining contact with Earth.

However, neither Bowman or Poole can find anything wrong with the unit. Hal suggests that it is simply due to human error, and that they should return the unit and wait for it to fail. The two astronauts hide in an EVA pod where they cut off radio contact with Hal and discuss what should be done. They decide to take his advice and to return the unit, but if it turns out he is wrong, they will have to disconnect him. Unknown to them, HAL is reading their lips.

Poole takes an EVA pod outside towards the antenna. He is about to return the unit, but HAL takes control of the pod. The pod then rams into Poole, severing his oxygen and sending him floating into space. Bowman sees this on a screen and attempts to take out an EVA pod in an effort to rescue Poole.

Bowman approaches the Discovery, only to be refused entry by HAL. Eventually, he decides to re-enter the ship through the emergency airlock even though he does not have his space helmet. Bowman then works his way to HAL's logic memory center, where he begins to disconnect him. After he finishes the task, HAL plays a pre-recorded briefing explaining the Monolith found in Tycho, and the purpose of the mission.

Now alone aboard the Discovery, Bowman arrives at Jupiter. There he finds another monolith in orbit around the planet. He decides to take an EVA pod towards it in an effort to investigate, but instead, the Monolith brings him into a mysterious passage known as the Star Gate.

Bowman finds himself in a hotel room, where he repeatedly encounters older versions of himself. Finally, he sees himself dying. A monolith appears once again and transforms him into a new entity known simply as the Star Child. The film ends with the star child looking down on the Earth.

Have you ever wondered what your life would be like without electricity? You press the switch, and nothing happens. The cinema has imagined this on countless occasions and has left us with a bunch of films that portray a reality much worse than the one we know.

Imagining the future, or a totally different present, is a recurring theme among writers and film-makers. Catastrophes and apocalypses have provided varied, original visions of things to come.

The series was produced by J.J. Abrams and places the spectator in a post-apocalyptic future where an unknown phenomenon renders electric devices useless. This gives rise to a story centred on the Matheson family, who seem to have privileged information to decipher what has happened.

Written and directed by Patricia Rozema and based on a novel by Jean Hegland, this film shows the fight for survival of two teenage girls in a world that from one day to the next has no electricity.

The central characters lead an isolated life with their father in the forests of North Carolina. Little by little, they get over their initial frustration thanks to their father's skills, and manage to get sufficiently organised to do the cooking and washing. But the problems get worse and they have to depend on themselves in order to survive.

Who doesn't remember Kevin Costner's gills? This enormous fiasco almost finished the career of the Californian actor. The planet has become an immense ocean after the melting of the polar ice-caps. Here the only energy that exists is in the arms of the few survivors.

Not content with playing the lead in the above disaster, Kevin Costner decided to continue with his apocalyptic adventures in this sort of futuristic western. A brutal war has devastated civilisation and now the world is a desert.

We now move to more recent films, with the second part of the new "Planet of the Apes" trilogy. Humanity has been overwhelmed by a virus and the survivors try to reach a dam so as to supply their homes with electricity. But to get there they have to cross the territory of a community of apes. 152ee80cbc

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