背景资料：《猩球崛起》是经典系列科幻电影《人猿星球》的前传，它讲述了由于人类自负导致了猿猴智力的发展，猿族与人类之间爆发战争,以及地球上的人类是如何在各种自私自利下，一步一步的走向灭亡.《阿凡达》的特效团队为本片制造出了上百个逼真的猩猩，加上先进的日观等下动作捕捉技术，视觉效果绝对令你震撼。
猿猴形象在西方受推崇的原因：荷兰女哲学家Stine Jensen曾在《女人为什么爱猿猴》一书中向我们描述几百年来猿猴与女人，其实是同人类的关系是如何发生根本转变的。而在电影银幕上，从《金刚》到《人猿泰山》，强壮霸气的雄性猿类形象一直是好莱坞热衷的题材，1994年“大猿猴项目”（GAP）的实施更标志着猿类形象在西方大众文化中获得普遍关注。由此来看，“凯撒”的粉墨登场，其实也有着数十年的文化心理积淀。
第一期——【纽约客影评】猩球崛起——进化，变成革命
第二期——【纽约客影评】猩球崛起——进化，变成革命(二)
Caesar spreads the serum to the other animals, and what starts as a prison revolt quickly becomes a species revolt.The changes in the apes’ intelligence are so vivid that we experience the alterations as a stirring birth—the origins of revolutionary consciousness—even though it is we humans, in the end, who will get overthrown. In a truly creepy moment, Caesar goes back to the house in which he was raised and stares silently at Will and his girlfriend (Freida Pinto) in bed together. The scene marks a sexy return to Boulle’s idea: for apes, human behavior becomes an object of avid curiosity and study. And we wonder, Who’s the prime primate, at the top of the species hierarchy? The position is suddenly up for grabs.
Caesar 将这种血清发放给其他动物，一场狱中造反很快演变成了种族起义。猿猴们智力上的增长如此的显著，以至于让人们感到这场变动只是一场大变革的开始：猿猴们的反叛意识才刚刚兴起，即使我们人类，最终也会败给他们。其中还有一个令人害怕的场景，Caesar悄悄回到他长大的地方，安静的看着Will和他的女友一起躺在床上。这个场景漂亮地照应了Boulle的思路：对于猿猴，人类的行为正是他们渴望了解和学习的对象。我们开始疑惑，这样一来，谁才是灵长类动物的首领，能位居这个物种的统治阶层？这个职位突然成了可争取的空缺。
Digitized acting (if that’s the right phrase) should be as warmly recognized as any other kind of acting.When Will arrives at the pen, intending to take Caesar home, the ape sees the leash in Will’s hands and sorrowfully but firmly closes the door of the cell—staying behind with his own kind forever.To register the moment, Serkis lengthens his jaw in sullen resolve, turns his back, and gives Caesar a regretful shudder—the scene is almost tragic. Throughout the movie, the filmmakers capture tiny changes in mood and physical appearance, and the grand effects are startling.
数字化演技（如果可以这么称呼的话）应与其他演技一样得到热烈接受。当Will来到猿猴基地打算接他回去的时候，Caesar 看到了他手中的链子，伤心之余坚决地关上了房门，选择永远与同类待在一起。为了突出这个场景，Serkis让Caesar拉长了脸，表情愠怒坚决，Caesar转过身去，遗憾地耸了耸身体——场面是那么的悲伤。整部电影中，制作者抓住了人物情绪和肢体表现的细微变化，这带来的效果令人惊叹。
Finally, the apes break free, running all over San Francisco, busting into the biotech company’s corporate headquarters and liberating the remaining apes in Will’s lab. For once, the riot of movement is exhilarating rather than just extravagant. I’ve seen dozens of digital creatures and endless cars smashing through windows, but when the freed apes, like water bursting through a dam, pour through the building’s glass walls at different levels, the image is a pop epiphany of freedom. “Rise of the Planet of the Apes” is spectacle with a kick: the transcendence of the normal in creatures so like ourselves is both an entertainment and a needling rebuke to human vanity.
最终，猿猴们冲出基地，获得了自由，身影遍布旧金山城。他们冲进那家生物公司的总部，释放了关在Will实验室的猿猴们。就这一次，这场暴动开始变得令人振奋，而不仅仅被视为虚拟世界的一场行动。我曾在电影中看到无数电子生物和汽车从窗户中冲出的场景，但当看到被释放的猿猴像巨大水流冲过大坝一样涌出大楼一层层的玻璃幕墙时，才顿悟这画面就是对“自由”的诠释。奇观场景的背后亦给人警示：一种似人类的生物超越正常进化过程对我们来说，是一种娱乐材料，亦是对人类自负虚荣的痛斥。
Digital is here to stay, but this terrific movie tells us that it’s time to move on from the current clichés. The superheroes and the thundering plastic toys need to be tossed into the back of the closet, where they belong. If invention, wild and free, yet tied to emotion and philosophical speculation, is given a chance, digital filmmaking could have a more brilliant future than any we can now imagine.
数字化场景定格在那里了，但这部精彩的电影是想告诉我们更多：是时候走出固步自封，整日陈词滥调的圈子了。将超级英雄和大塑料玩偶丢回壁橱里吧，那里才是他们的归宿。如果制片者在构思电影情节时，能赋予人物感情和思维推测以更大胆自由的创意，那么数字化电影制作的前景将无限光明，超乎想像。
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