20th Century Studios’ “Kingdom of the Planet of the Apes” is an all-new action-adventure spectacular that will be released exclusively in theaters nationwide on May 10, 2024.
Director Wes Ball brings new life to the worldwide, epic saga set several generations after Caesar’s rule, in which apes are the dominant species coexisting peacefully and humans have been consigned to live in the shadows.
As a new despotic ape king expands his dominion, one young ape embarks on a perilous trip that will compel him to rethink all he knows about the past and choose the course of events that will affect apes and humans alike.
Wes Ball (the “Maze Runner” trilogy) directs “Kingdom of the Planet of the Apes,” which stars Owen Teague (“IT”), Freya Allan (“The Witcher”), Kevin Durand (“Locke & Key”), Peter Macon (“Shameless”), and William H. Macy.
For them, “Kingdom of the Planet of the Apes” continues on their upward trajectory, while for us, it continues them on their free fall. Taking place three hundred years after the events of the previous three “Apes” films — “Rise of the Planet of the Apes” (2011), the superior “Dawn of the Planet of the Apes” (2014), and “War for the Planet of the Apes” (2017) — the new film focuses on Noa, a young chimpanzee who is on the verge of becoming a chimpanzee. Owen Teague, who is wearing a digital hair suit, plays the role of Noa, a young chimpanzee who lives in a tranquil village of chimpanzees that are taming eagles.
The opening scene immediately demonstrates to us what he and the film’s army of digital artisans are capable of doing: a vertigo-inducing leap, swing, and climb to the top of the jungle-covered ruins of human skyscrapers. It is there that Noa and his friends Soona (Lydia Peckham) and Anaya (Travis Jeffery) are collecting eagle eggs for their coming-of-age ceremony.
In a turn of events that is right out of the Joseph Campbell playbook, the community is invaded, and the chimpanzees are enslaved by a battalion of warlike gorillas under the generalship of the terrible Sylva (Eka Darville). This leaves Noa all by himself in the world, and he makes a solemn pledge to save his people. The attack on the settlement is represented in a manner that is smoothly propelling and ruthlessly efficient. “Kingdom” has already revealed that it will be the most action-intensive chapter of the relaunched “Apes,” and it is the chapter that will be receiving the most attention.
Director Wes Ball is an expert in the creation of digital worlds, and he gained his experience in the field while working on the dystopian young adult version of “The Maze Runner” (2014) and its sequels. It’s possible that “Kingdom” is too skilled; there are times when it feels more like a cutting-edge computer game than it does like a movie.
During the treacherous trek to the seacoast stronghold of Proximus Caesar (Kevin Durand), a despotic bonobo chimp with the usual villain’s plan (conquer the world, accumulate magical abilities, mock the hero from behind a banquet table), things both improve and degenerate. Proximus Caesar is a bonobo chimp.
While on his journey, Noa encounters Raka, an orangutan known for his wisdom and the sole surviving member of a priesthood that reveres the legacy of the original Caesar (played by Andy Serkis in the first three movies); as given life, wit and excellent comic timing by actor Peter Macon, Raka is a delight — 2 parts Yoda to one part Robert Downey Jr.
In addition, Noa comes upon a young human lady named Mae, played by Freya Allan, who has her own goals in life. The three companions then go on their journey together, much like a furry version of “The Wizard of Oz.” Despite the fact that Allan offers a respectable performance, her character never makes any sense. It is anyone’s guess how Mae is able to walk into a human fortress that is in disrepair and get the power and computer system up and running. That is not even the half of it.
In addition to the fact that she is a story device rather than a human person, the fact that the actress is appealing in ways that are in direct opposition to the broader theme of the de-evolution of mankind is extremely frustrating. When it comes to her appearance, it appears as though the hair and cosmetics department smeared some muck on her face and then added lip gloss.
Towards the conclusion of “Kingdom,” we catch a peek of other humans, and they are outrageously hot as well. I suppose that the utter breakdown of society was beneficial for eliminating the genes that are considered to be ugly.
However, the performances and personalities make the graceful spectacle worthwhile. As the film begins with Raka’s triumphant entrance, tensions rise with Proximus Caesar’s cocky arrival as a charismatic preacher who has turned the teachings of a messiah into hate speech. The artists at Wētā brought such passion to Noa’s beautiful green eyes, which conveyed hope, terror, betrayal, and finally acceptance, making him the center of the picture.
With so many competing concerns—including anti-gun rhetoric, religious analogies, concerns over our connection to technology, and individual rights—Ball and Friedman’s ambitious storytelling becomes a little overwhelming. However, for the time being, they have created a thrilling universe revolving around a new ape that we can put our faith in
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