Movie Review: “Kingdom of the Planet of the Apes”

It was way back in July 2017 where, on this very website and ahead of the release of “War For the Planet of the Apes,” I proclaimed that the “Planet Of The Apes” movie series “could quite possibly be the best franchise in film history.” With the exception of the Burton remake, there wasn’t a bad entry in the bunch, with each being rife in its own way with some social commentary, a compelling story, and a few engaging characters. Now, with the release of director Wes Ball’s “Kingdom of the Planet of the Apes,” how do I feel about that statement? I’m happy to say that the state of the “Apes” franchise union remains strong and, while the latest installment lacks some of the profundity of its predecessors, it remains a thoroughly engaging and complicated slice of entertainment. Ball, working from a script by Josh Friedman, has created a full world in “Kingdom,” with truly whole (and dynamic) characters that make for an excellent story combined with the usual mix of nihilism and hope that is found in every “Apes” movie. It’s not one of the best of the series, but it is still a worthy successor that delivers a rousing and captivating vision.

Noa (Owen Teague) is a chimp that belongs to a tribe that raises eagles, and soon he will be bonded with his own bird. Before that can happen, an invasive tribe comes in and decimates his village, leaving Noa alone and behind. The young simian tracks his captured kinsfolk and along the way meets up with orangutan Raka (Peter Macon), a member of the Order of Caesar who remember and continue the teachings of the great ape emancipator many generations ago. The duo encounters a human that follows them that they name Nova (Freya Allan), who seems particularly quick-witted…for a human. Raka regales Noa with tales of Caesar’s time of humans and apes co-existing before they end up finding the place where Noa’s tribe has been taken: a seaside bunker turned makeshift fiefdom ruled with a heavy fist by an ape named Proximus (Kevin Durand). Noa must figure out how to free his people and try to ensure that the power-hungry Proximus doesn’t get his paws on whatever lies in that underground fortress.

“Kingdom of the Planet of the Apes” soars thanks to exquisite CG and mo-cap work, delivering some of the best-looking computer renditions of ape characters so far. The detail apparent in some scenes, where each follicle feels accounted for and wonderfully made, is truly breathtaking. There are a few scenes, particularly action/combat scenes between apes, where the CG isn’t as strong and there is a bit of a more cartoony vibe. These are so few and so seldom, though, which is why they stand out in stark relief to the majority of the work on screen for the runtime of the film. This character building extends beyond the computer rendering, though, which is what makes them so compelling and transfixing. The motion capture work of Teague, Durand, and all the others is undeniably impressive and makes it easy to buy these characters as “real” flesh-and-blood super apes, and not simple ones and zeros on a screen.

That grounding extends beyond the main characters in “Kingdom of the Planet of the Apes” into a fully realized world. Ball has managed to make this feel like a lived-in society (or, more accurately, collection of different societies) with its own practices that are never explained yet always feel natural and part of a larger tapestry. The crumbling world of man is a beautiful vista, but it’s the way that the ape tribes dress and communicate and their customs that make this feel like such a grounded reality, even when it’s a bunch of feudal talking monkeys arguing over some armory scraps. It shouldn’t work. It should feel silly or detached from our world completely, but the performances, writing, and direction do an excellent job of making it all feel compelling and real.

There isn’t as much social commentary in “Kingdom” as there have been in all previous “Apes” films—in fact, in that department, it is easily the lightest of the entire franchise (even Burton’s tackled the seduction of the gun). But Friedman’s script does a good job of avoiding easy answers when it comes to broader topic of cynicism vs hope, which is something that has been in the series’ DNA since the first installment in 1968. We’ve come a long way since the misanthropic astronaut and series lead who eventually gets his nihilistic beliefs confirmed on a beach in the Forbidden Zone. Proximus is ruthless, but his reasoning is (darkly) sound; some of the actions of our heroes are questionable and suggest an unending division between species on a planet that should no longer host any more wars (yet very may well). It would be nice if there were a subject matter on which it was touching, but the fact that the morality is muddled shows an adult appreciation for the material and the world that, once again, helps ground this and draw in the audience even further.

“Planet of the Apes” remains (pound-for-pound) the best film franchise in cinematic history. Ten movies deep and it’s still delivering compelling characters and engaging stories while further flushing out a world. It’s an impressive feat. “Kingdom of the Planet of the Apes” is a gorgeous looking film populated by fascinating figures with plenty of intriguing story turns that will transfix viewers. With the latest entry, Ball and company have shown there’s lots of stories left to tell and lots more planet left to explore. And I, for one, cannot wait.