(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“Many years after the reign of Caesar, a young ape goes on a journey that will lead 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 should go without saying, but I’ll say it anyway: the goal of any sequel should be to both build on the established ideas of the original while tactfully and respectfully pushing the property in, perhaps, an unseen direction. Jazz musicians do this when they’re free forming all the time, giving some inspiration some all-new life by providing audiences with something as familiar as it is new to the universe. Granted, this doesn’t happen all the time, but it should minimally be the goal of all involved, especially with tentpole style theatrical franchises like the Planet Of The Apes: if it ain’t fresh, then it’s more likely to mire itself in the comfortable middle ground, never quite aspiring to be something more but accepting its place as ‘more of the same.’
To a degree, that’s what I felt with Kingdom Of The Planet Of The Apes, a kinda/sorta loose reboot in the Apes universe that opens up only moments after Caesar’s demise at the end of War For The Planet Of The Apes (2017). Viewers are given some opening text alongside their attendance of Caesar’s funeral; and it’s pretty clear that such a visual passing of the torch attempts to both clarify that Kingdom seeks to be the next chapter in the ongoing saga as well as it is variations on the themes and ideas already established in this Apocalyptic world. Setting this installment several generations after that first trilogy feels right – the Apes have continued to bend what’s left of civilization to their will; humans have continued a descent into simpler mindsets; and the Earth has been left in dilapidated decay; etc. – and also waiting more than a few years to release this variation on a theme feels equally like a good idea.
What makes this chapter’s Earth markedly similar to the Apes first foray onto the silver screen (1968-1973) is that we learn that not all humans surviving in this particular Armageddon have devolved into animals: there are pockets of humanity left – albeit spaced out across and around our planet – and they’re all dedicated to somehow putting mankind back at the top of the food chain. This aptly demonstrated by the introduction of Mae (played by Freya Allan), a young woman separated from her group of survivors sent out into the wild to recover a missing piece of technology (I’m keeping it deliberately vague in order to avoid spoilers) needed to … erm … “cure” what ails the humans still alive. While others online claim this is a new development in the Apes flicks, I’m here – as the old dog – to assure you that it isn’t: we’ve seen such a plot twist – albeit handled much, much differently – in Beneath The Planet Of The Apes (1970) with the depiction of a subterranean cult that worshipped a nuclear bomb. For those who’ve seen it, the technology inevitably leads to, say, mutually assured destruction; but in Kingdom it serves to provide society with a bit of hope.
Noa (voiced by Owen Teague) can’t quite seem to catch a break amongst apedom. Feeling a bit like an outcast from him father and his clan (who’ve made significant societal progress by both taming and training eagles to do their bidding), he heads out into the dark of night to find an egg that would be required for his next rite of passage into adulthood. While he’s searching, he stumbles across some violent ape aggressors who are hellbent on finding an escaped ‘echo’ (the ape word of human), a mission that ultimately leads them to Noa’s peaceful village. Sadly, he arrives back too late to save his father from being cut down; and General Koro (Neil Sandilands) abducts the survivors and takes them into his custody. Left for dead, Noa awakens the next day, and he sets out on a journey to free his people from Proximus Caesar (Kevin Durand), a self-declared emperor seeking what remains of human technology to give apes the advantage in the next evolution of the world.
What Kingdom adds to the mythology enduring from the Caesar Trilogy of films is it shows how belief systems can be deliberately corrupted over the passage of time.
From the film’s IMDB.com page citation:
“Many years after the reign of Caesar, a young ape goes on a journey that will lead 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 should go without saying, but I’ll say it anyway: the goal of any sequel should be to both build on the established ideas of the original while tactfully and respectfully pushing the property in, perhaps, an unseen direction. Jazz musicians do this when they’re free forming all the time, giving some inspiration some all-new life by providing audiences with something as familiar as it is new to the universe. Granted, this doesn’t happen all the time, but it should minimally be the goal of all involved, especially with tentpole style theatrical franchises like the Planet Of The Apes: if it ain’t fresh, then it’s more likely to mire itself in the comfortable middle ground, never quite aspiring to be something more but accepting its place as ‘more of the same.’
To a degree, that’s what I felt with Kingdom Of The Planet Of The Apes, a kinda/sorta loose reboot in the Apes universe that opens up only moments after Caesar’s demise at the end of War For The Planet Of The Apes (2017). Viewers are given some opening text alongside their attendance of Caesar’s funeral; and it’s pretty clear that such a visual passing of the torch attempts to both clarify that Kingdom seeks to be the next chapter in the ongoing saga as well as it is variations on the themes and ideas already established in this Apocalyptic world. Setting this installment several generations after that first trilogy feels right – the Apes have continued to bend what’s left of civilization to their will; humans have continued a descent into simpler mindsets; and the Earth has been left in dilapidated decay; etc. – and also waiting more than a few years to release this variation on a theme feels equally like a good idea.
What makes this chapter’s Earth markedly similar to the Apes first foray onto the silver screen (1968-1973) is that we learn that not all humans surviving in this particular Armageddon have devolved into animals: there are pockets of humanity left – albeit spaced out across and around our planet – and they’re all dedicated to somehow putting mankind back at the top of the food chain. This aptly demonstrated by the introduction of Mae (played by Freya Allan), a young woman separated from her group of survivors sent out into the wild to recover a missing piece of technology (I’m keeping it deliberately vague in order to avoid spoilers) needed to … erm … “cure” what ails the humans still alive. While others online claim this is a new development in the Apes flicks, I’m here – as the old dog – to assure you that it isn’t: we’ve seen such a plot twist – albeit handled much, much differently – in Beneath The Planet Of The Apes (1970) with the depiction of a subterranean cult that worshipped a nuclear bomb. For those who’ve seen it, the technology inevitably leads to, say, mutually assured destruction; but in Kingdom it serves to provide society with a bit of hope.
Noa (voiced by Owen Teague) can’t quite seem to catch a break amongst apedom. Feeling a bit like an outcast from him father and his clan (who’ve made significant societal progress by both taming and training eagles to do their bidding), he heads out into the dark of night to find an egg that would be required for his next rite of passage into adulthood. While he’s searching, he stumbles across some violent ape aggressors who are hellbent on finding an escaped ‘echo’ (the ape word of human), a mission that ultimately leads them to Noa’s peaceful village. Sadly, he arrives back too late to save his father from being cut down; and General Koro (Neil Sandilands) abducts the survivors and takes them into his custody. Left for dead, Noa awakens the next day, and he sets out on a journey to free his people from Proximus Caesar (Kevin Durand), a self-declared emperor seeking what remains of human technology to give apes the advantage in the next evolution of the world.
What Kingdom adds to the mythology enduring from the Caesar Trilogy of films is it shows how belief systems can be deliberately corrupted over the passage of time.
The script from Josh Friedman, Rick Jaffa, and Amanda Silver isn’t always centered precisely on this theme, but – generally speaking – it hits the right notes to keep the various story threads moving in directions similar enough for those watching even casually. Viewers watch as the lessons handed down by the beloved Caesar have been either diluted and/or widely misinterpreted for vastly more personal schemes. For example, ‘apes stronger together’ was evolved to represent an almost colonialism mentality from Proximus while Noa’s Eagle Clan uses it to project a kinda/sorta peacenik co-existence with nature (but even they are caging birds for their use) – so both the good guys and the bad are guilty in their own respective ways. The difference here is really only in the presentation: Proximus uses his slogan as almost a war cry, and Noa’s tribe gets flattering lighting and an uplifting orchestral score. But they’re both guilty, in my estimation, though others will likely disagree.
Still, this is obviously a Hollywood production, and the scribes – perhaps along with director Wes Ball – can’t help but insert a bit of ideology to push politics.
Veteran actor William H. Macy shows up as – you guessed it – a male conspirator who’s sold-out his fellow human survivors in order to work alongside the apes in exchange for special treatment. (Mind you: Tinseltown will stop at nothing to paint the old white male as the universe’s greatest adversary.) Sadly, it’s a role beneath the man’s obvious chops; but he does a solid job bringing the turncoat weasel to life in the limited screen time he’s afforded. Furthermore, I found myself questioning the choice of having Mae as the lead human action hero – no sleight whatsoever intended to the actress. My issue with sending a young and fertile female out into this Apocalypse on such a deadly mission is that I’m assuming that the humans left haven’t forgotten that the chief activity to rebuilding any civilization will be CHILD-REARING. Given that only women (despite what news pundits and politicians tell you these days on television) can conceive and birth new additions to the human race, I thought that sending her out was a bit reckless if not downright stupid. Call me old-fashioned if you must, but I can’t overlook fundamental truths to biology just because the script suggests otherwise.
None of this reduces the entertainment quality to Kingdom in any way whatsoever. It’s a great adventure, one that rather deftly balances the ideas of war and peace after the collapse of civilization; and it’s told in the same style as was the Caesar installments. The cinematography is particularly good, though I’ll admit that the occasional scene here and there obviously enhanced by CGI could’ve been crafted a bit better. Noa makes for a new thematic center in the world of the Apes – as does Mae – and I, for one, am hoping that we haven’t seen the last of their teaming up despite the strain put on their relationship with this one’s ending. They’re not exactly what you would call ‘friends’ or ‘enemies,’ and that’s an interesting place to see how they might need one another’s services again in the dark, dark future where men are no longer top dog.
Kingdom Of The Planet Of The Apes (2024) was produced by Twentieth Century Fox, Jason T. Reed Productions, Oddball Entertainment, and Disney Studios Australia. The film is currently playing theatrically at locations around the world. As for the technical specifications? Wow. The CGI looks incredible throughout this one’s various sights-and-sounds, but there were a few crowd scenes that were a bit undercooked (in my humble opinion). If you’re looking for special features? As I viewed this one theatrically, there were no special features to consider.
Highly recommended.
2024’s Kingdom Of The Planet Of The Apes effectively reminds the audience of where this whole shebang began thematically as well as charts the course for a further exploration of morality at the end of civilized existence. The new faces all feel as if they’re the natural next step in development for a world evolving from the chaos that brought about our demise; and it’ll even be interesting to see where all of apedom can go should this chapter emerge profitable enough for the powers that be to wish to see it continued. Sadly, it has a few ideological statements that could’ve been avoided … but Hollywood will be Hollywood until it falls as well. Take note, producers. Take note.
In the interests of fairness, I’m pleased to disclose that I’m beholden to no one for my review of Kingdom Of The Planet Of The Apes (2024) as I took this one in entirely of my own accord over the weekend.
-- EZ
Still, this is obviously a Hollywood production, and the scribes – perhaps along with director Wes Ball – can’t help but insert a bit of ideology to push politics.
Veteran actor William H. Macy shows up as – you guessed it – a male conspirator who’s sold-out his fellow human survivors in order to work alongside the apes in exchange for special treatment. (Mind you: Tinseltown will stop at nothing to paint the old white male as the universe’s greatest adversary.) Sadly, it’s a role beneath the man’s obvious chops; but he does a solid job bringing the turncoat weasel to life in the limited screen time he’s afforded. Furthermore, I found myself questioning the choice of having Mae as the lead human action hero – no sleight whatsoever intended to the actress. My issue with sending a young and fertile female out into this Apocalypse on such a deadly mission is that I’m assuming that the humans left haven’t forgotten that the chief activity to rebuilding any civilization will be CHILD-REARING. Given that only women (despite what news pundits and politicians tell you these days on television) can conceive and birth new additions to the human race, I thought that sending her out was a bit reckless if not downright stupid. Call me old-fashioned if you must, but I can’t overlook fundamental truths to biology just because the script suggests otherwise.
None of this reduces the entertainment quality to Kingdom in any way whatsoever. It’s a great adventure, one that rather deftly balances the ideas of war and peace after the collapse of civilization; and it’s told in the same style as was the Caesar installments. The cinematography is particularly good, though I’ll admit that the occasional scene here and there obviously enhanced by CGI could’ve been crafted a bit better. Noa makes for a new thematic center in the world of the Apes – as does Mae – and I, for one, am hoping that we haven’t seen the last of their teaming up despite the strain put on their relationship with this one’s ending. They’re not exactly what you would call ‘friends’ or ‘enemies,’ and that’s an interesting place to see how they might need one another’s services again in the dark, dark future where men are no longer top dog.
Kingdom Of The Planet Of The Apes (2024) was produced by Twentieth Century Fox, Jason T. Reed Productions, Oddball Entertainment, and Disney Studios Australia. The film is currently playing theatrically at locations around the world. As for the technical specifications? Wow. The CGI looks incredible throughout this one’s various sights-and-sounds, but there were a few crowd scenes that were a bit undercooked (in my humble opinion). If you’re looking for special features? As I viewed this one theatrically, there were no special features to consider.
Highly recommended.
2024’s Kingdom Of The Planet Of The Apes effectively reminds the audience of where this whole shebang began thematically as well as charts the course for a further exploration of morality at the end of civilized existence. The new faces all feel as if they’re the natural next step in development for a world evolving from the chaos that brought about our demise; and it’ll even be interesting to see where all of apedom can go should this chapter emerge profitable enough for the powers that be to wish to see it continued. Sadly, it has a few ideological statements that could’ve been avoided … but Hollywood will be Hollywood until it falls as well. Take note, producers. Take note.
In the interests of fairness, I’m pleased to disclose that I’m beholden to no one for my review of Kingdom Of The Planet Of The Apes (2024) as I took this one in entirely of my own accord over the weekend.
-- EZ
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