That rare franchise that continues to find new ways to engage its IP by heading in exciting and interesting directions, The Planet of the Apes has flexed its simian strength once more. Coming off a terrific rebooted trilogy (Rise of the Planet of the Apes, Dawn of the Planet of the Apes, and War for the Planet of the Apes) that earned its crown as one of the best – if not in conversation for the best – post-modern movie trilogies, director Wes Ball had some significant expectations to contend with. Thankfully, Ball has risen to the occasion, ushering in a new dawn of this saga, and gone to war for the kind of emotionally-driven, intellectually-satisfying narrative that Apes has carved out for itself in an increasingly anti-intellectual blockbuster market.
Throughout its tenure, the Planet of the Apes saga has consistently sparked curiosity. From Charlton Heston’s realization that human hubris led to his civilization’s downfall at the foot of the Statue of Liberty, the series has tackled ideas about subjugation, experimentation, eugenics, class/racial supremacy, civil rights, religion, and revolution. Kingdom of the Planet of the Apes, with a script from Josh Friedman (War of the Worlds), remixes many ideas explored in previous entries while expanding the world-building introduced in the post-2010 films. This installment particularly focuses on how power intersects with and takes advantage of religious fundamentalism.
Rulers, both ape and human, manipulate and selectively use facts, recontextualizing the words of peacemakers as tools for subjugation. After all, history is written by the conquerors, and none are more ruthless than the self-selected ‘chosen ones.’ In Kingdom of the Planet of the Apes, this dynamic is further complicated as only a select group in post-human society can read, and therefore access information. Symbolic relics (books, computers, etc.) serve as the Apes-world’s Rosetta Stone, unlocking the ancient knowledge of the now-obliterated mankind. This access to knowledge offers a unique power, a prism through which power can be refracted far beyond the apes’ current technology. Moreover, controlling history enhances the conquerors’ ability to manipulate past facts to serve the interests of the few in the present.
[READ MORE: Our A-grade review of ‘Dawn of the Planet of the Apes‘ directed by Matt Reeves]
This idea unfolds within a classic action-adventure framework. Generations after Caesar’s death, Noa (Owen Teague) lives natively among the peaceful Eagle Clan, a society of apes coexisting with golden eagles in lush riverlands. We encounter Noa as he scales a skyscraper reclaimed by nature, searching for a precious egg to nurture in his clan’s rookery. Fearful of contact with outside societies, especially the feral humans known as ‘Echoes’ who roam the wastelands, the Eagle Clan remains isolated from the broader world. 
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However, their peace shatters when a technologically advanced group of militant apes invades Noa’s village. In the aftermath of a brutal massacre, Noa’s friends, family, and fellow villagers are secreted to far-flung labor camps. Hot on their trail, Noa joins forces with Rakka (Peter Macon), a wise orangutan and devout follower of Caesar’s actual teachings, and Mae (Freya Allan), a desperate human loner with a hidden secret, to liberate his people from the tyrannical Proximus Caesar (Kevin Durand). Proximus, a despotic strongman, manipulates the legacy of the fallen Caesar to legitimize his rule over his slave-driven “kingdom.”
[READ MORE: Our A-grade review of ‘War for the Planet of the Apes‘ directed by Matt Reeves]
Friedman’s script is effective at wrapping its arms around these larger ideas but lacks the epic sweep of Matt Reeves’ more thought-provoking installments. Certain elements, particularly the specific dynamics within Proximus’ kingdom, could have been explored further to add more thematic heft and character scope, potentially elevating him from a formidable villain into something truly unforgettable. Nevertheless, Friedman commendably balances intellectual aspirations with the demands of blockbuster spectacle. Tasked with the dual duties of relaunching the franchise after Matt Reeves’ phenomenal one-two punch and exploring how the newly dominant apes might learn—or fail to learn—from humanity’s mistakes, Kingdom invariably succeeds.
Noa proves to be an interesting lead, his arc satisfying yet clearly positioned at the beginning of a larger story that’s still in its infancy. Meanwhile, Mae emerges as a complex ally and foil, destined to blossom into something more that’s only hinted at here. Despite only appearing late in the second act, Proximus is one of the film’s standouts. With shades of The Jungle Book’s infamous orangutang King Louis, desiring man’s red flower and all the firepower that comes with it, he embodies hubris. His desire for paradigm-shifting technology underscores perhaps the film’s most effective premise: how those who learn the wrong lessons from history, or from a martyr leader like Caesar, are doomed to repeat the same mistakes that led to obliteration.
As expected, the technical magic of Kingdom of the Planet of the Apes is towering. WETA’s detailed rendering of the photorealistic simian kingdom is stunning, while Daniel T. Dorrance’s impressive production design creates perhaps the most remarkable backdrop of the entire series. John Paesano’s score bridges past and present, blending a modern sensibility with Jerry Goldsmith’s iconic, otherworldly timpani-heavy soundscape from the original film. Ball balances the emotional close-ups and strong character work with muscular set pieces, maintaining fluid character and plot movement without sacrificing anything at the alter of convenience. While other franchises try to ape contemporary blockbuster successes, Planet of the Apes looks within and develops outward. Though not as towering or remarkable as its predecessors, this is as good a place as any to start on a new post-apocalyptic journey, swinging into the franchise’s future with primate prowess.
CONCLUSION: A wowing blockbuster that balances character growth, world-building, and exciting spectacle, ‘The Kingdom of the Planet of the Apes’ may not rise to the same heights as its incredibly predecessors but remains another rock solid entry into one of the best franchises in movies. Keep making them this good please.
B+
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By: Matt Oakes
Started blogging about film in college when the university paper wouldn’t have him. Dislikes your consensus film Twitter favorites. Devotee of horror movies that make him die a little inside. Catches films at festivals when he can. Proud SFCS and OFCS member and Tomatometer-approved critic. Editor-in-chief of Silver Screen Riot.
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