Many years after the reign of Caesar, a young ape goes on a journey that will lead him to question everything he’s been taught about the past and make choices that will define a future for apes and humans alike.
Chuck says:
For a tentpole movie, Wes Ball’s “Kingdom of the Planet of the Apes” is a rather daring film that in some ways plays against apectations (sorry, couldn’t resist…) Deliberately paced, at times it seems as if the director is daring us to stay interested in this, the 10th film in the enduring franchise. Very slow in its world (re)building, there are points in the first hour that lean towards the tedious, the astonishing special effects and productions design the only things keeping us engaged. Granted, the movie does right itself and proves worthwhile, serving as an effective metaphor for our own societal issues, yet it takes a bit too long to get there and will likely prove too tedious for some.
Picking up many generations after the last entry, “War for the Planet of the Apes,” Noa (Owen Teague) is a member of a chimpanzee tribe that specializes in raising and training eagles. They’re a peaceful, rather meek group, ripe for exploitation. Unfortunately, that’s exactly what happens when a group of militant gorillas invade their camp, destroy it, and takes its citizens away as slaves. Thought killed during the attack, Noa survives and sets out to find his fellow villagers.
Of course, his trek is not without its difficulties, though he does receive some help from Raka (Peter Macon), an elderly orangutan and devout follower of Caesar, the former leader of the apes who initially bound them together with his teachings. The older simian tries to pass these benevolent beliefs on to his new friend who, having seen the destruction wrought on his clan, is no mood to embrace them. Another wrinkle to Noa’s journey – it seems a human is following him, Mae (Freya Allen) who appears to be smarter and more tenacious than her brethren.
The dynamic between this trio takes far too long to set up, Ball’s slow pacing a bit of a mystery. Noa’s education becomes the linchpin to the narrative as he is shaped by all that happens on his journey as well as his continued interactions with Mae. The lessons Raka imparts are vital to his transformation, yet he is on screen far too little, his early exit regrettable.
With all that, the film takes an intriguing turn with the introduction of Proximus Caesar (Kevin Durand), a would-be despot who rules with an iron hand, though he portrays himself as an ape with a vision that will benefit all simians. He proves to be the most intriguing character as his intentions are not without merit. Having been taught the theory of evolution by the opportunistic human Trevathan (William H. Macy), he wants to take steps to ensure apes develop in order to maintain control over the humans. This is not an unreasonable line of thinking and not without its appeal. After all, humans once subjugated them and, in effect, created the conditions of their apocalypse. Why not let the simians have a go at it?
While Proximus’ reasoning may be sound, it’s his actions that prove problematic. The third act consists of yet another over-long action climax, that logically holds little water. Inexplicably, Proximus has reasoned the tools he needs for dominance are in a massive vault with an entry by the sea. He’s not wrong, but how he came to this conclusion, like too many other plot points, goes unexplained.
All that being said, the film is an astounding visual achievement. Peter Jackson’s Weta FX company continues to astound with the motion-capture technology they employ. Continued modifications have made the digital transformation of human actor to ape character even more amazing than before. The realism of the chimps and gorillas’ movements and expressions are a wonder to behold as are the world-building effects employed. The melding of real locations and sets with the digital backgrounds is seamless and given to intriguing and at times, awe-inspiring sights. LAX and the planes surrounding it overgrown with vegetation is a hoot while a rusted-out oil tanker converted into an ape city begs further examination, its minute details too much to take in at a glance.
“Kingdom” is far from a bad movie, but rather one that requires an adjustment in expectations. This is a thoughtful genre exercise intent on tackling serious issues, its final sequence portending not just more sequels but further discourse on how any society should be run. As such, it’s a bit of an anomaly where summertime Hollywood fare is concerned. Ball and screenwriter Josh Friedman should be commended for taking such a tact. I just wish they’d attacked the crux of their story with more urgency.
2 1/2 Stars
