Kingdom of the Planet of the Apes, 2024.
Directed by Wes Ball.
Starring Owen Teague, Freya Allan, Kevin Durand, Peter Macon, William H. Macy, Eka Darville, Travis Jeffery, Neil Sandilands, Sara Wiseman, Ras-Samuel, Lydia Peckham, and Dichen Lachman.
SYNOPSIS:
Many years after Caesar’s reign, a young ape goes on a journey that leads him to question everything he’s been taught about the past and make choices that will define a future for apes and humans alike.
It’s daring and risky to hinge the premise for part one of a new trilogy on questioning whether the beloved protagonist of the previous masterful trilogy was right or not and an interrogation of what he stood for, but franchise newcomer director Wes Ball subtly delivers much to contemplate with the fourth installment in this series, Kingdom of the Planet of the Apes.
Set many generations into the future, this chapter explores the legend Caesar has taken on from his heroic and sacrificial actions across the previous trilogy, diving into how that could be twisted into hostile propaganda. The religious parallels are obvious, but Kingdom of the Planet of the Apes also feels like a political allegory, and how a two-party system sometimes feels like a pendulum swinging back and forth (your parties being monkeys and humans here.) This is accomplished by putting some sympathy and empathy back on the human characters, whereas the apes are free and dominant.
That’s not to say everything is peaceful between the primates. If anything, total conquest has only accelerated their journey to becoming increasingly like the enemy they overthrew. If there’s no one left to fight, factions will emerge, and battles will be waged over opposing ideologies. Enter Proximus Caesar (motion capture performance by Kevin Durand), who is not of a direct bloodline from our previous hero. He manipulates Caesar’s words and teachings to amass an antagonistic army in his quest for knowledge and power. Any apes not on board with this vision or simply standing in his way are met with violence, such as an attack on a settlement to round up more would-be loyal followers.
This slaughter occurs on the eve of Noa’s (motion capture by Owen Teague) bonding ceremony, a coming-of-age passage that sees him scaling a destroyed tower, grabbing an eagle egg (at least one egg is always left behind for the family), and developing a connection, symbolizing a transition into chimpanzee adulthood. As part of Eagle Clan, Noa is supported by his best friends Anaya (motion capture by Travis Jeffery) and love interest Soona (motion capture by Lydia Peckham), all fighting for their lives when the villagers attacked, leaving the elder, Noa’s father dead, paving the way for a revenge story just as much as a rescue.
Regarding spectacle, action, characterization, and emotion, Wes Ball’s work is a step down from Rupert Wyatt and Matt Reeves (the latter of which directed parts two and three of the trilogy), but that’s not necessarily a dealbreaker. The last three films are all towering, phenomenal feats of blockbuster moviemaking that make it hard to get too pressed about a new entry not living up to that level. It also helps that, again, there are subversive ideas to ponder in this screenplay (courtesy of writer Josh Friedman, based on characters created by Rick Jaffa and Amanda Silver, all three of whom contributed to Avatar: The Way of Water) becoming more complex as the story progresses, also setting up for potentially great things in the future.
Surprising no one, the visual effects from WETA are astonishing, as this series remains the gold standard in that department. Going beyond the insane level of CGI detail, the facial expressions brought to life using motion capture mimic authentic emotions. Considering that this entry only has two human characters in Freya Allan’s Mae – a traveling scavenger unsure of if she can trust Noa and apes in general or not – and William H. Macy’s Trevathan – a defeated human resigned to living in servitude – success in digital immersion is more crucial than ever here. Similarly, the art design depicting a devastated post-climate change world upended and reclaimed by mother nature is often stunning, as is the production design (Proximus Caesar uses an abandoned ship as his fortress.)
As Noa sets out on a mission to rescue Eagle Clan from that stronghold, he comes across other apes, including Raka (motion capture by Peter Macon), a follower of Caesar giving the sheltered chimpanzee a crash course in history and how it is being twisted by Proximus. Venturing out into the world and amassing knowledge, there are competing viewpoints Noa is forced to weigh and balance, influencing key choices he has to make across the story. The ensuing action set pieces are thrillingly put together and greatly benefit from the excellent special effects (flickering sparks of electricity and embers, or apes covered in ash), yet also lacking stakes.
Meanwhile, as everything plays out, we wonder if Caesar would still have the same ideologies if he were still alive. Humanity is in a desperate place right now, which might make it more dangerous, bitter, and unforgiving than ever before. The conclusion of Kingdom of the Planet of the Apes could have easily gone wrong and felt like setting up a retread of frequently charted territory. Here, it turns out to be a compelling inversion and a reason to get invested in this new trilogy, excitedly awaiting more.
Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★
Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check here for new reviews, follow my Twitter or Letterboxd, or email me at MetalGearSolid719@gmail.com
