Really Good.. but Not Great, Enter: ‘Kingdom of the Planet of the Apes’

The strongest trait of the Planet of the Apes franchise, which has now spanned over 50 years and is officially ten films deep, has been its ability to evolve from film to film. With each new entry, there is a fresh new twist or angle that has always kept these films interesting and engaging for audiences. Coming off one of the greatest blockbuster trilogies of all time in the 2010s Planet of the Apes reboot films, Kingdom of the Planet of the Apes was always going to have a lot of work to do in establishing itself as a fresh new spin on a franchise that has certainly been around the block a time or two.

Bringing in Wes Ball, who only had three films under his belt as a director, all three being the Maze Runner trilogy, to direct this film, was a decision that raised some eyebrows. While an experienced blockbuster and franchise filmmaker, his lack of portfolio was always going to make the expectations feel ginormous for a director taking on a beloved franchise and making it something new, while still stemming from a world created before it. It isn’t all new blood though, as writing duo husband and wife Rick Jaffa and Amanda Silver, who broke out big in Hollywood with their inspired Caesar origin story screenplay in 2011’s Rise of the Planet of the Apes, have returned as creatives, this time solely as producers. They seem to be passing the creative baton to a new team of creatives, thus bringing us a new era of Ape films. 

As established by the end of the recent trilogy, the apes are the central figures in these films. There were almost no major casting announcements that drove up the hype for this film. I appreciate that the focus has become just the apes and the incredible visual effects and motion capture work that goes into bringing these ape characters to life. Kingdom was promised to be more of an adventure film, with a grand sense of size and scope. The film, which takes place several generations after (and with little direct connection to) the prior trilogy, follows a young chimpanzee named Noa (Owen Teague). Noa lives in the woods among a clan of chimpanzees who seek to be one with the eagles that inhabit the same environment in which they live. First and foremost, this film does a stellar job at expanding the world, and Noa and his clan offer us a first glimpse into the wider world around the group Caesar led in the previous films. 

As the film goes on and the adventure grows, the world continuously expands. Noa’s adventure sets him and us down a path that explores just how legend and myth can be manipulated and misconstrued, with the words of the elders “Apes Together Strong”, being used for evil as well as good. The film has a lot on its mind when considering how it wants us to reflect on the legend and myth. While this film takes a substantial time jump, Caesar’s words and the ways of life that the apes lived prior are still ever present. What came before plays a massive role in Kingdom. 

One thing this film does well is pay respect to the rest of the Apes films, old and new. The modern state of blockbuster movies has practically been an onslaught of references and callbacks within films to the point of exhaustion. Everything seems like it must hinge on what came before it to even survive. Kingdom finds that rarely struck happy medium in which it can stand on its own while still being a part of what came before, even poking some good fun at certain things. It was refreshing and it worked. 

The visual effects and look of the film are astounding, almost upping the tremendous work done in War for the Planet of the Apes. Since the launch of the franchise on the big screen some 56 years ago, it has uniquely served as a way to examine the current state of technology in film and the limitations, or new heights, that tech has reached. Even the Tim Burton remake in 2001 was just that little bit too soon for a full-fledged motion capture ape-athon, but by 2011, Rise took that leap. Each film since has taken another step up visually, with some genuinely mind-blowing CG work on display here. 

With every Apes film the human element plays a role that is almost equally as important as that of the ape characters. This film is no different, and where this film falls flat is its progression of character development with human characters and the lackluster pacing that can be felt as the film finds its way. There is lots of movement in the film, and that leads to many of the arcs feeling undercooked, almost like a string of good yet incomplete characters and settings. The main human character, Mae (Freya Allen), feels out of place for much of the film, and while Freya Allen delivers a solid performance, her character often feels poorly written, again adding to that feeling of a missed opportunity. These shortcomings and missed opportunities negatively aid a feeling of reduced tension and by extension, it can be hard to feel as invested. 

Kingdom of the Planet of the Apes is a welcomed entry into one of the most consistent franchises in Hollywood. The callbacks are fitting and the ape characters continue to dazzle in their characterizations as well as visually, with Noa serving as an intriguing and inspired against-type protagonist. While a clear step down from the last few films, there is room for improvement and there is certainly so much potential in the world-building for worthwhile sequels to come.

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