A Marriage of Classic and Modern Apes

Here’s how the new entry stacks up to the rest of the franchise.

Set “Many Generations Later” after the events of War for the Planet of the Apes, Kingdom of the Planet of the Apes delivers on the promise of the franchise’s name immediately. One of the most fascinating things about these movies are the rules each tribe/clan/kingdom of apes operates under, and how they compare not only to us but to the history of civilization. Kingdom is no different, bringing audiences into the fold of The Eagle Clan, a group of Chimps who live in the remnants of our old world in prosperity. For longtime fans, this feels like the series is finally at a point where it can explore the title without humans hogging the spotlight, and when it’s digging into that, Kingdom of the Planet of the Apes is at its best.

Considering the epic scope of the Caesar trilogy compared to the specific aesthetic of the original Apes series, it would be easy to assume that a new film in the franchise would continue the trend of the modern. Director Wes Ball, however (working from a script written by Josh Friedman), has found a way to mesh the two endpoints of the Apes franchise into a film that rewards fans new and old. There’s not only the modern, action set-pieces and spectacle that audiences have come to love, but a sense of adventure and storytelling danger that harkens to the Charlton Heston original (plus a killer score by John Paesano that calls back to the Jerry Goldsmith themes of the original film). 

This isn’t to say that enjoyment of the film is dependent on a familiarity with eight other movies, as you can come in totally cold and marvel at what’s before you, but Kingdom of the Planet of the Apes deliberately arrives on screen as a celebration of the 55 years before it. There’s a rich text to be found in Kingdom of the Planet of the Apes, continuing the legacy of a science fiction franchise that isn’t afraid to hold up a mirror to our modern world, like, say, a violent demagogue exploiting the masses through violence. 

A huge reason Kingdom of the Planet of the Apes works is the new cast, who not only carry on the tradition of amazing motion-capture work, but feel like fully formed characters that are ripe for their own tale. Stepping into the metaphorical shoes of Andy Serkis feels like a tall task, but young actor Owen Teague delivers a soulful and engaging performance as Noa, the film’s central ape. Teague anchors the entire movie to the point where he sells even the character beats that are telegraphed, making them feel earned. 

Noa is joined by two chimp companions in Travis Jeffery as Anaya and Lydia Peckham as Soona, both of whom step up to the plate when called for, be it emotional resonance or a necessary beat of levity. Freya Allan’s appearance as the film’s sole human character could potentially put her in an awkward position; however, she is not only able to carry a lot of weight through her facial performance alone but also sells the sinister undertones of her character’s journey that arise. 

The best new addition to the entire Planet of the Apes franchise within Kingdom, however, is Peter Macon’s Raka, an orangutan that serves as the biggest connection to Caesar’s legacy. Macon infuses a deep sense of personality and lived-in wit to Raka while managing to bring about much-earned laughs when the movie most needs a chance to breathe. Kevin Durand’s Proximus Caesar is another great addition, and when he’s on screen, he is an electric antagonist, but, sadly, it feels like the movie has so much to set up that the character isn’t used to his fullest potential.

The frustrating part about the faults of Kingdom of the Planet of the Apes is that they don’t really make themselves known until the ending of the film. At this point, they tumble upon each other, making them all that much more glaring as distractions. Chief among these is that the finale feels overly rushed, and it becomes clear that this fast-forwarding of the third act was done so that a haphazard tee-up for a sequel could also get its time in the spotlight, one that some audience members may not be totally interested in, since it seems like wheel spinning for the series at large.

It also feels trite to bring up the tremendous work of WETA’s special effects within the ape franchise, but Kingdom of the Planet of the Apes is yet another step forward from their previous work. This can best be seen in the quiet moments of the movie, when Wes Ball’s camera lingers on the faces of Noa, Anaya, and Soona, allowing the audience the chance to notice the wrinkles in their skin, the blemishes in their cheeks, and the signature spots under their eyes. It’s a magic trick that’s happening right in front of you and makes you forget that entire sequences of the movie aren’t real.  

It can already be daunting to join a franchise that has remained steadfast for almost sixty years, not to mention one that successfully rebooted itself in the 2010s to critical acclaim, but director Wes Ball has managed to stare down that mountain of intimidation with his cast and crew to deliver. Kingdom of the Planet of the Apes proves that there is still life left in this franchise and that it can grow beyond the fan-favorite Andy Serkis trilogy while still drawing influence from its roots. Even with minor faults, it’s a grand time, and a worthy follow-up.

Rating: 4 out of 5

Kingdom of the Planet of the Apes opens in theaters on May 10th.