Dawn of the Planet of the Apes

A community of apes is flourishing in the forests north of San Francisco, organized and thrifty endowed reactive brawn.

Humans must appease them to acquire a power source they need to continue growing and expanding, a power source lying within the ape's domain, war being an unpalatable option.

Unpalatable though it may be, both sides prepare for battle, while diplomatic agents attempt to harness cooperative wisdom, to the framework of a mutually beneficial future.

Peace and harmony reign for at least a solid three hours.

Before treachery incites.

Born of impenitent vengeance.

The film necessarily struggles to find its identity, as hostilities and passions obstruct the empowerment of conscience.

Perhaps it's too ape-centred for me, the wild productivity of the forest dominating the film's urban concentrations.

It points out that patience and understanding reside within the art of diplomacy, while focusing on how easily its designs are upset by spiteful infringements, the totality of objectification.

Which unleashes the violence of bedlam.

Crushing the foundation of dreams.

The Internship

As versatile exploratory eclectronic dynamics instigate widespread structural changes within the American economy, two salespersons, two heroes, must reconfigure their occupational allegiances, adjusting their garrulous genuflections to an in/directly interactive domain, sticking to their guns while leaving room for error, boldly entering a new domain where Vince Vaughn (Billy McMahon) has never gone before, wherein past general approaches must swiftly absorb sundry divergent nodes and particulars to fasten new understandings to a previously non-existent fluctuating multifaceted computational interface, psychologically constructed on the fly, after which previous sustainable reflexes find themselves transfigured yet productively cogent, as youth and age contend in a transfixed multiplex.

Or Billy and Nick (Owen Wilson) compete for new jobs while working with youthful misfits initially unreceptive to the ethos of the 1980s.

I suppose Mr. Vaughn has gone here before, The Internship bearing remarkable similarities to Dodgeball: A True Underdog Story, but this format fits well, and the film contains some hilarious moments.

I didn't like how Billy ditches the team near the end, just like in Dodgeball, but as the team comes together to build him back up, it becomes apparent that he was indeed a good teacher, constructively no longer feeling like a failure as the obvious beneficial affects of his wisecracking salespersonship animate his teammates, a cooperative collegial streamwise dialectic.

The Internship finds a way to interpersonalize doom and gloom forcastes hewed from theorized claims that the net is depersonalizing general social interactions, comedically encoding a face-to-face aesthetic, while incorporating competitive clashes in an asinine yet convivial flashdance.

Not Vaughn's best work, but a fun intergenerational summertime flick, worth checking out for some cheeky commentary and head shaking laughs.

Owen Wilson, also good.

What a feeling.