KINGDOM OF THE PLANET OF THE APES (2024)
The Simians' Return to the Screen is a Well-Made Shadow of its Predecessors
Grade: B
Planet of the Apes is a science fiction series that has mostly managed to stand the test of time. Beginning in 1968 with the same-titled film, it is usually strongest when it is either holding up a mirror to humanity or delivering an emotional wallop with its compelling characters. The three most recent films in the series, Rise of the Planet of the Apes (2011), Dawn of the Planet of the Apes (2014), and War for the Planet of the Apes (2017) cover both areas-especially in the latter category, thanks in large part to Andy Serkis’s motion-capture performance as the chimpanzee leader Caesar. Kingdom of the Planet of the Apes, the latest entry in the franchise, is but a mere shadow of its predecessors, but it is still well-made and entertaining on its own.
Dawn concluded with Caesar dying after safely leading his people to a new home. Many years pass, and apes now rule the Earth while humans have regressed to the level of animals. Kingdom opens with a tribe of eagle-raising chimpanzees living peacefully in an overgrown deserted city. One night, in the film’s most intense sequence, another group of apes invades and destroy the village and capture the survivors. The only one who remains is Noa (Owen Teague), who sets out to find and rescue his people. Along the way he encounters an orangutan named Raka (Peter Macon), who has knowledge about the past, and Mae (Freya Allen) a human girl who can inexplicably speak. They eventually find Noa’s tribe in the captivity of Proximus Caesar (Kevin Durand), a maniacal bonobo determined to solidify the apes’ dominance on the planet.
It is impossible to discuss a film like Kingdom without comparing it to the ones that came before it. The movie would’ve benefited greatly from the return of Matt Reeves, who did such an excellent job directing Dawn and War (alas, he was busy with his new The Batman trilogy). Noa’s search for his clan is a good story, but nowhere near as compelling as Serkis’s Caesar struggling with his morality as his world crumbles around him. Proximus Caesar is an imposing presence, but he would be even more interesting and menacing if we knew his backstory and motives, particularly his interest in Roman history. This reviewer could have stood seeing even more of his kingdom, as well as what happens to the humans his apes capture in the wild.
It is ultimately best to appreciate the movie’s performances and technical achievements since those are where it shines the most. Here, as before, the motion-capture technology is first-rate, giving the apes personalities. By now, they can speak mostly fluent English (in the Serkis trilogy, apart from Caesar, they mostly communicated through sign language), giving the actors free rein to express themselves. The cinematography is breathtaking, displaying many beautiful wide shots of the apocalyptic landscapes. In an age when it is easy for audiences to reject computer-generated imagery in favor of practical effects, Kingdom proves that there are still good uses for this technology.
The conclusion of Kingdom of the Planet of the Apes is where much of its narrative strength lies. Indeed, it follows the cardinal franchise rule that the ending should be at least tinged with tragedy or uncertainty (if not altogether nihilistic). This is due largely to Mae, who us ultimately revealed to be a more complex character than we’ve been led to believe. While technically on the same side as Noa, her true motives have always been dubious, and her actions in the film’s closing minutes hint at further conflict between man and ape. The ending may be a classic case of sequel-baiting, but it was intriguing enough for this reviewer to look forward to what is next. Hopefully the next chapter will further expand on the ideas and world of Kingdom and be even better.
Director: Wes Ball
Screenplay: Josh Friedman (Based on characters created by Rick Jaffa and Amanda Silver; premise suggested by the novel La Planete des Singes written by Pierre Boulle)
Producers: Wes Ball, Joe Hartwick, Jr., Rick Jaffa, Amanda Silver, Jason T. Reed
Cast: Owen Teague (Noa), Kevin Durand (Proximus Caesar), Peter Makon (Raka), Freya Allen (Mae), Lydia Peckham (Soona), Travis Jeffrey (Anaya), Sara Wiseman (Dar), William H. Macy (Trevathan)
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