“How was your year”? It’s the first question Cal has for David his teenaged son who just flew in for a winter hunting trip. It’s the first of many signs revealing a disconnect between father and son who rarely see each other following Cal’s divorce from David’s mother. David lives with her in Texas. Cal lives in a secluded cabin in the mountains of Montana.

Twin brothers Alex and Andrew Smith directed and wrote the screenplay for “Walking Out”, an adapatation of a David Quammen short story. You could say it is a poignant family drama masquerading as a survival thriller. This story of a hunting trip gone bad certainly has all the elements tense survival tale. But even during those moments it’s the unfolding family dynamic that gives it all such meaning.

Cal is played by Matt Bomer, an unexpectedly nice fit. There’s a lot we aren’t told about Cal. Why does he live like a hermit? What does he do for a living? Why did he and David’s mom divorce? What little bit we know is picked out of conversations with David and occasional flashbacks to when Cal hunted with his dad (played by Bill Pullman).

David is wonderfully played by Josh Wiggins. It’s such a genuine performance and a genuine character. David would much rather play on his cell phone than trod through the snowy wilderness. He’s a kid any viewer could recognize – awkward and a bit aloof. He is certainly out of his element in Montana. But at the same time he wants to be please his father and be close to him.

The chemistry between Bomer and Wiggins is a big reason this film works. For nearly half of the film the two make their way to the remote hunting grounds high up in the mountains. During this time we see both the compassion and contention that defines their relationship. But when the inevitable happens and something goes terribly wrong we see a necessary evolution of their relationship.

“Walking Out” offers an interesting exploration of the father/son dynamic. For example it plays with the idea of sons becoming their father. We see it in how during the hunt Cal assumes the role of his father (who we see during the flashback sequences). And after the incident we see David doing something similar and becoming more like his father. This is one of several themes the Smith brothers play around with. There’s nothing deeply profound, but interesting nonetheless.

The film’s title makes the impending peril obvious, but the buildup of the two main characters and their strained relationship gives form to the danger once it hits. The mountainous wilderness is shot in a way that makes it both menacing and breathtaking. The further they get from civilization the more beautiful and treacherous the land becomes. It becomes a powerful supporting character and a perfect setting for this modest yet satisfying picture.

VERDICT – 4 STARS

You would be tempted to call it the anti-blockbuster franchise if it wasn’t made up of three sure-fire blockbusters. Still it’s a label that seems to fit the newest “Planet of the Apes” prequel/reboot series. It has all the big budget bells and whistles yet there is clearly more going on underneath the blockbustery surface and it’s not hard to recognize its attempts at more provocative explorations.

Despite the rousing critical praise (for the most part) it has received, my relationship with the series is a weird one. Both of the previous films, 2011’s “Rise of the Planet of the Apes” and 2014’s “Dawn of the Planet of the Apes”, are really good movies that have their own nagging missteps. But despite their issues, each film had its hooks in me enough to leave me genuinely excited for its follow-up. So that brings me to the latest installment that continues the Caesar trilogy and the trend of awkward movie titles – “War for the Planet of the Apes”.

For some (unfortunately), how condemning or forgiving they are may depend on which political magnifying glass they choose to look through (yes, I’ve actually seen this ). Much like the previous two films, “War” has statements it wants to make. And much like the previous films, those statements are often thought-provoking and occasionally a tad heavy-handed. But messaging has never been the problem. Instead it was a handful of story angles that would sometimes trip them up. Nothing major, but they are there. For the most part “War” rights those issues.

“Dawn” ends with Caesar, the leader of the ape clan, acknowledging that war with the humans is all but inevitable. “War” begins with an explosive sequence revealing Caesar’s prophecy to be true. Troops from a military group calling themselves Alpha-Omega launch a sneak attack on an ape base in the forest. Returning director Matt Reeves’ staging of this sequence is exquisite. It’s beautifully shot and incredible to watch. There is also a lot of information we can glean concerning what’s to come.

Tired of the heavy casualties, Caesar (magically played by a returning Andy Serkis) moves from revolutionary to Moses figure and agrees to lead the apes out of the forest and to an isolated spot across the desert. Before they can leave they are hit by Apha-Omega and Caesar has a face-to-face with their leader Colonel McCullough (Woody Harrelson). The attack is repelled, but for Caesar the results are intensely personal. He commands his clan to head for the desert while he seeks revenge, accompanied only by three of his most loyal (and insistent) friends.

It’s here that “War” really hits its stride. The group’s effort to track down McCullough leads them north where they encounter several characters both human and simian. None are better than Steve Zahn who plays Bad Ape, a chimpanzee who lived in the Sierra Zoo prior to the Simian Flu outbreak. Zahn does a lot of interesting things both comically and dramatically. It’s a well-balanced character and performance that never pushes the ‘comic relief’ role too far.

Staying with performances, it has taken time for many people to warm up to Andy Serkis’ style of acting, but by now his unique skills as an actor should be beyond doubt. There is simply no one better at what he does. This is evident by his work in “War” which is the pinnacle of everthing he has done in the Caesar role. It’s Oscar caliber stuff. If only the Academy will take notice.

The story pulls its influences from a wild assortment of films. Early resemblances to old school westerns like “The Outlaw Josey Wales” give way to shades of “The Great Escape” once the film shifts to what is essentially a prison movie. This is also where it loses a bit of its momentum and stretches out about fifteen minutes too long. Allusions to the Holocaust and concentration camps are effective yet it’s a fairly dramatic shift that takes too much time to develop and play out. And back to influences, it doesn’t take much of an eye to notice the similarities between Harrelsen’s McCullough and Brando’s Kurtz from “Apocalypse Now”.

“War” finally gets back on its feet and the pulse-pounding finale feels just right. The film ends with the story and franchise in strong place. Of course it won’t stay there. Another film is already said to be in the works. As for this installment, I feel it’s the best of this new series and despite its lag in the middle it avoids the narrative hiccups from the past film. More importantly it does justice to this central character who we’ve spent so much time with and genuinely care about.

VERDICT – 4 STARS

You could almost sense the collective exhale from the heads of both DC Films and Warner Brothers – a profound release of sheer relief after seeing the first wave of rave reviews for the latest installment into their DC cinematic universe. It’s a monumental understatement to say, but they needed this. “Wonder Woman” was always rich with potential, but how many times has the same thing been said about other films in the DC fold (I’m looking at you “Suicide Squad”)? Well toss aside your concerns. “Wonder Woman” is not only a great movie, it unquestionably raises the bar for the entire genre.

DC has determinedly pushed forward with their Marvel-like vision despite the steady floggings from critics. Some of the rabid criticisms have been justified but certainly not all of them (Sorry folks, take out your stones, but despite its issues, “Batman vs Superman” wasn’t nearly as bad as the fashionable hate indicates). Still, only a dyed-in-the-wool fanboy would believe DC didn’t have significant ground to make up against its Disney-owned competitor.

That’s one reason you could call “Wonder Woman” a game-changer. I don’t want to lean too heavily on that description, but it is a film that’s makes a strong creative statement for DC. It could also be said that it’s better than the bulk of Marvel movies from the past few years. That’s because “Wonder Woman” carves out its own identity while still playing by some of the genre’s basic rules. Sure, it’s another superhero origin story, but it avoids the formulaic quicksand that many recent superhero pictures have fallen into.

“Wonder Woman” has many things that work, but I keep coming back to the word ‘balance’. Director Patty Jenkins (a curious choice at first but one proven to be perfect) skillfully manages her movie in a fashion that never allows it to lean too heavily in one direction or the other. There is just the right amount of humor, just the right amount of suspense, and just the right amount of action. More importantly all of these mechanics work in harmony to serve the characters. So much so that even the seemingly mandatory bombastic finale feels rightly dramatic and laced with more emotional heft than most of these movies give us.

An old photo triggers the story of Diana of Themyscira – a beautiful island paradise of high cliffs, lush greenery, and gorgeous waterfalls hidden from the world of man by none other than Zeus himself. As a young girl Diana is the golden child among her people, an all-female warrior race known as the Amazons. The daughter of Queen Hyppolita (Connie Nielsen), Diana grows up desiring to be warrior against the wishes of her intensely protective mother. Hyppolita soon realizes there is no stopping her determined daughter’s will to train.

Everything changes when a plane crashes in the ocean near Themyscira’s shore. Diana (Gal Gadot) saves the lone pilot, an American named Steve Trevor (Chris Pine) who happens to be the first man Diana has ever laid eyes on. Trevor tells the Amazons of the violence and carnage just outside their protected home. It’s the waning years of World War I yet countless lives still hang in the balance. Against her mothers wishes, Diana offers to accompany Trevor off the island and to the war front where she believes she can end the war and the suffering.

Allan Heinberg handles the writing and, much like Jenkins, keeps everything in balance. A handful of devices will feel familiar but Heinberg keenly keeps them under control. For example we get the often used fish-out-of-water angle which provides some genuine laughs while also holding up a mirror to some society norms worth discussing. Yet it never goes overboard. The same could be said for the Etta Candy character (played by Lucy Davis), Trevor’s loyal and peppy secretary who offers a dash of comic relief. But where many movies would have ran her into the ground, Heinberg and Jenkins stick to the “all things in moderation” idea. Smart move.

Another key to the film’s success is its persistent human-scale vision. While it’s often hard the glean the human element in many of these movies, “Wonder Woman” makes it a focal point. Jenkins shows off a stunningly astute knack for depicting human suffering without reveling in it. As it should, human loss feels significant and is never exploited. At the same time the film asks thoughtful questions about good and evil, not from the upright superhero and devious super-villain perspective, but from the very core of humanity.

It’s those questions that eventually weigh on Diana. That’s because she is presented exactly as she should be – consistently moral and just. Thank goodness Jenkins and Heinberg steer clear of any modern day tinkering and portray Diana much closer to William Moulton Marston’s original comic book vision. Gal Gadot is an essential ingredient and the strength of her performance shouldn’t be understated. Combined with her amazing physicality, Gadot portrays innocence, confliction, determination, and strength as naturally as the most seasoned actress. From her indomitable warrior gaze to her visible deep-rooted affections, the expressive Gadot serves as a magnificent centerpiece.

Lots has been said about a woman finally being given the reins of a superhero movie. I usually don’t get into that yet I also recognize its significance. But for me it’s not just about a woman getting the job. That has happened before with less than stellar results. Instead it’s about a woman getting the job and making a film that is one of the very best of its genre. Patty Jenkins has done just that and if it doesn’t open eyes and open doors I don’t know what will.

“Wonder Woman” stands among the very best of its contemporaries. A visual splendor of precise period recreation and breathtaking superhero action. An emotional exploration of human proclivities towards good and evil and the ugliness of oppression and suffering. And at the center is a character who is a true untarnished hero – easy to care about, root for, and rally behind. “Wonder Woman” never loses that focus which is one of the many reasons it deserves every ounce of praise it has been getting.

VERDICT – 4.5 STARS