Movies
Matt Reeves (Thankfully) Cut a Pointless ‘Dawn of the Planet of the Apes’ Epilogue
I hate epilogues. I HATE them. That’s why I giggle in joy when movies like RoboCop, Rocky and The Karate Kid end with an upper cut and a freeze frame. There’s no need for extra exposition as we don’t need to see the aftermath of Dick Jones being fired, Rocky nearly beating Apollo Creed, and Johnny getting crane-kicked in the face. We get it, audience aren’t as stupid as Hollywood seems to think they are.
With that said, I bask in this report by /Film, who talked with director Matt Reeves about an alternate ending to Dawn of the Planet of the Apes. In it, the movie never ends, bleeding into an epilogue that would have taken the heart and soul out of the finale, and leaked into sequel territory (like the eye-rolling ending of The Amazing Spider-Man 2).
Reeves begins talking about receiving his shots to edit very late in the game, and deciding to recut the entry of the film, while also making a huge trim to the film’s epic conclusion.
As those shots actually finally come in and the backgrounds are in, you suddenly realize oh wait, okay, this shot should be held this long, not that long. And there was a frantic period of editing, literally in the last three weeks. Let’s do another pass on the movie. And I ended up taking out a couple sequences that I loved because I thought the movie played better without them. And we will put those somewhere on the DVD or an extended cut or something.
And what was different about the ending was that after the ending that you see in the final film, the idea was that the apes went out on a kind of exodus through the city and they gathered on the Golden Gate Bridge in order to look into the distance for the approaching warships. And I felt that it was taking us too far into the next movie. And almost starting the next movie and not letting the emotion of what had just happened, of what Caesar had just achieved and what Caesar had the price that he had paid. It wasn’t letting that resonate and it wasn’t ending, the final shot with again hopefully not spoiler way, but the final shot was actually in a way the very same final shot. It was actually him on top of the Golden Gate Bridge which was covered in apes, all looking out way, way into the distance and to see this really like messed up armada way in the distance showing up like really like ships in disrepair. And it moved into his eyes as he took in the uncertain future.
Reeves talks a lot more about the epilogue over at /Film, but it’s a little filibuster-y for me.
Judging from the unprecedented box office success of Kane Parsons’ Backrooms adaptation, you’ve likely already seen the liminal horror hit that managed to make audiences afraid of empty hallways and bad wallpaper. And now that so many of us have already entered the yellow labyrinth (some of us more than once), the time has come to discuss the spoiler-filled details that make the movie so fascinating in the first place.
And if there’s one element here that makes the Backrooms movie stand out from any previous lore/mythology, it has to be the genius addition of the Still Life entities. Warped recreations of real people that somehow wandered into the Complex, these misremembered creatures are responsible for some of the most disturbing imagery of 2026 – as well as laugh-out-loud memes created by one of the film’s very own concept artists.
However, true to Parsons’ word that the movie would rely heavily on practical effects, each of these distorted monsters was brought to life by real actors under heavy layers of makeup and prosthetics (with the occasional splash of CGI enhancements). While Anora and If I Had Legs I’d Kick You actress Ivy Wolk wasn’t among these performers, despite what Letterboxd might have you believe, the creature cast did benefit from veteran players with plenty of genre experience.
For starters, Alien: Romulus alumni Robert Bobroczkyi (who previously brought that film’s horrific Offspring to life during its most memorable sequence) plays the flick’s main antagonist, the Still Life version of Captain Clark. And though there was some obvious CGI involved in making the character’s peg-leg and nightmarish face more believable, Bobroczkyi’s monstrous performance and his natural 7’7″ frame helped to make that final chase sequence a clear highlight among this year’s genre offerings.
The film’s Texas-Chain-Saw-inspired “dinner” scene also features a freaky collection of less-aggressive Still Life creatures in the form of the Bearded Man, the Red-Headed Woman and, strangest of them all, the cheekily named “Archibald Leland Sutter Still Life” (who earned this title among fans and crewmembers as a reference to his apparent affinity for lamps).
While this was the first major horror outing for both Patrick Baynham (The Bearded Man) and Dana Mahmood (Archibald), Rhiannon Roberts has worked as a stunt performer in everything from Yellowjackets to HBO’s The Last of Us adaptation – which is probably why The Red-Headed Woman is the most active out of Clark’s impromptu “family.” That being said, the Archibald Leland Sutter Still Life is my personal favorite of the bunch simply because his anachronistic outfit suggests that the Backrooms phenomenon might be a lot older than the Async Foundation. I also love how hard he tries to be helpful with that little light of his!
That might be it for the Still Life entities, but I think horror fans will also be pleased to hear that the film’s Found Footage prologue stars none other than Resident Evil: Welcome to Raccoon City star Avan Jogia as Naren Warne – and American Mary herself Katharine Isabelle also shows up in a blink-and-you’ll-miss-it cameo at Mary’s house party towards the middle of the story (though I have a feeling that she originally had a bigger part that was likely cut for time).
At the end of the day, Parsons’ Backrooms may have been an auteur-driven project motivated by the young director’s unique take on the classic creepypasta, but film has always been a collective artform, so it’s fun to see just how many talented performers it takes to bring this kind of supernatural nightmare to life in a way that connects with so many people.
You must be logged in to post a comment.