Remarkably, it’s been seven years since the last chapter of the Planet of the Apes saga, titled “War for the Planet of the Apes,” graced the silver screen. It was unveiled in 2017, and the vivid memories of Matt Reeves’ brilliant storytelling, pitting apes against humans in a dramatic confrontation, linger as if it were only yesterday. That saga concluded with the simian population coming out on top, despite the demise of Caesar, their foundational figure. This sets the stage for “The Planet of the Apes: The New Kingdom,” which essentially starts anew with fresh faces, new dynamics, a younger filmmaker at the helm, and the potential kick-off for a new trilogy. The goal is to dive deeper into Pierre Boulle’s original lore while venturing into uncharted territories. And indeed, the execution is not only well-crafted but also marks a technical advancement.
Over half a century, the Planet of the Apes cinematic universe has firmly established itself with nine films and two TV series, collectively amassing over $2 billion at the box office. The original novel by Pierre Boulle, an emblem of pop culture and a specific brand of science fiction, was inspired in 1962 when Boulle was pondering the human-like expressions of gorillas during a zoo visit. He toyed with the idea of a role reversal – what if these primates were the zookeepers while humans were encaged? This sparked the concept of a mysterious world dominated by apes with humans relegated to wildness. Until now, the film series has explored the repercussions of this role reversal but never the transition. “The Planet of the Apes: The New Kingdom” aims to shed light on how apes continued evolving while humans regressed.
To bring this vision to life, Hollywood enlisted Wes Ball, known for his “Maze Runner” trilogy. Born in 1980, Ball is a filmmaker who grew up with pop culture and video game sensibilities, evident in his film’s thematic parallels with games like The Last of Us and Horizon, which narrate post-apocalyptic human regression with nature reclaiming its place. Interestingly, Ball’s next project is an adaptation of “The Legend of Zelda,” promising given his success with “The Planet of the Apes: The New Kingdom.”
DON’T WANNA BE A MONKEY WRENCH
This 10th iteration of the saga is directly tethered to the trilogy initiated in 2011, unfolding 300 years post the “Supremacy” episode and the era of Caesar. Though Caesar has fallen, he’s venerated as a foundational leader, a reference point, and a deity among apes who now dominate a nature-reclaimed world. Wes Ball’s film intriguingly explores the aftermath of this evolution, highlighting that apes, now fluent regardless of their origins, have realized the immense power of knowledge, echoing Francis Bacon’s 1597 maxim, “Knowledge is power.” This realization drives the film’s narrative, revealing that evolution’s downsides include the emergence of malevolence, deception, and treachery – elements of the human psyche.
Owen Teague’s portrayal of Noa is particularly fitting. While not yet a household name, Teague has the potential to captivate audiences in the years ahead. Following Andy Serkis, a pioneering figure in performance capture technology, Teague steps into a role that offers a fresh start. His character, Noa, embarks on a quest to save his clan, learning and being shaped by diverse encounters. These interactions not only forge his identity but also position him as the anticipated new leader, making the concept of influence on his early, unformed character particularly effective. He’s set to navigate the world’s complexities, experiencing both its joys and sorrows, which ultimately sculpts him, for better or for worse.
LE VICE HUMAIN
“The New Kingdom” delves into significant themes like humanity, ecology, and racism, exploring the complex coexistence of two species claiming dominion over the planet without clear resolution. The film could have further explored humanity’s decline, yet it prefers a balance, perhaps intentional, with a climax that serves as a narrative twist. Despite the focus on ape characters, the presence of humanity is symbolically represented through Mae, portrayed by Freya Allan. Allan delivers a compelling performance, her character’s development enveloped in mystery, offering a nuanced reflection on survival and human essence without revealing too much, keeping the experience fresh for viewers.
BOSSA NOVA
Wes Ball’s directorial prowess is evident, particularly in his handling of wide shots, many of which appear tailor-made for the IMAX experience. His preference for shooting in natural settings contributes to the film’s dynamic energy and authenticity, an aspect that distinguishes his work amid the prevalent use of CGI. The blend of real-world environments with digital effects challenges the audience’s perceptions of authenticity, especially in action sequences that blur the lines between virtual and physical realities. Weta Digital continues to lead in CGI quality, effectively using close-ups of apes to showcase the technology’s potential when properly directed, amidst a climate where excessive and subpar CGI use has become a concern.
In conclusion, “The Planet of the Apes: The New Kingdom” is not only a triumphant success but a delightful surprise. Following up the “Supremacy” episode and the legacy of Caesar/Andy Serkis was no easy task. Yet, the film breathes new life into the franchise, exploring its mythology where needed and prompting further reflection on the challenging coexistence of two dominant species.
OUR RATING: 8/10
