‘Kingdom Of The Planet Of The Apes’: Review

Dir: Wes Ball. US. 2024. 144mins

Amidst a glut of uninspired franchise reboots, the Planet Of The Apes trilogy was a welcome exception — a gripping and emotionally layered series of films which balanced spectacle and thoughtful drama. Seven years after the final instalment, War For The Planet Of The Apes, this new chapter proves itself worthy of that legacy. Set several generations later, Kingdom Of The Planet Of The Apes – intended as the first in a new trilogy of Apes films – introduces us to a new reality in which apes rule, with humans practically an endangered species. This ripping action-adventure features stellar effects and a superb lead performance from Owen Teague as a timid simian who must rescue his clan from the clutches of a warlike tribe. 

A muscular blockbuster that is far more intelligent and mature than most event movies

Arriving in UK theatres on May 9, with a US release scheduled for the following day, the sequel is directed by Wes Ball (the Maze Runner trilogy). Andy Serkis, who played the soulful ape leader Caesar in the last Planet Of The Apes trilogy (which grossed approximately $1.7 billion worldwide), is only a consultant on Kingdom, but the true stars of the series are the intellectual property and the dazzling motion-capture work. Favourable reviews will only aid this franchise rejuvenator, which should enjoy strong commercial returns.

Teague plays Noa, part of the peaceful Eagle Clan, under attack from the far more ferocious Mask Clan.Noa’s noble father Koro (Neil Sandilands) is slain, and many of the Eagle Clan are taken prisoner. Determined to avenge his dad and save his tribe, Noa goes on a journey to track down the Mask Clan, eventually meeting a wise, old orangutang named Raka (Peter Macon) and a resourceful young woman, Mae (Freya Allan) – who shocks the apes by being able to speak.

Taking the reigns from Matt Reeves, who directed Dawn Of The Planet Of The Apes (2014) and War For The Planet Of The Apes (2017), Ball shares with his predecessor an appreciation for character development and sombre stakes, delivering a muscular blockbuster that is far more intelligent and mature than most event movies. Working with frequent collaborators production designer Daniel T. Dorrance and cinematographer Gyula Pados, the filmmaker creates a forested world in which humanity’s skyscrapers, observatories and naval ships have been covered over by rust and lush vegetation. Noa’s trek traverses several memorable environments — some beautiful, some treacherous — and all are vividly rendered.

Ever since 2011’s Rise Of The Planet Of The Apes, this series has boasted excellent special effects — particularly in the motion-capture ape design. Kingdom is especially strong in this regard, the simians’ expressive eyes and rich coats remarkable to behold. The seamless digital trickery allows Teague and Macon the space to create empathetic, three-dimensional performances as the sheltered Noa begins to learn more about his species’ past.

Although Caesar is long dead, some still remember his message of harmonious coexistence between apes and humans; a message that, unfortunately, seems to have faded over time. Even worse, the Mask Clan’s bloodthirsty king, Proximus (a properly monstrous Kevin Durand), has perverted Caesar’s teachings, using them as an excuse to hoard power and force all simians to bow down before him. The deft performances — led by Teague, who plays Noa as an innocent who discovers a bravery he never knew he possessed — bolster Kingdom’s sharp commentary on religious fanaticism, genocide and xenophobia. 

The tension between man and monkey has powered this franchise ever since the 1968 Charlton Heston original, but Kingdom argues that violent conflicts have, sadly, continued to be a timely narrative theme. Indeed, some of the film’s best moments involve the uneasy truce between Noa and Mae, who he has been led to believe is mute and unsophisticated like other humans. Quite the contrary – as played by Allan, Mae is a cunning foil whose reasons for locating the Mask Clan are left intriguingly vague. The film understands both characters’ perspectives as they each try to gain the upper hand, the future mastery of the planet hanging in the balance. 

Ball executes some top-flight action sequences but, as with the recent Planet Of The Apes trilogy, Kingdom’s set pieces are heightened by a respect for the complexity of the characters and the desperation of their mission. As expected, the picture ends with a teaser that suggests more sequels will be coming. Considering how effortlessly Ball returns us to this riveting, sweeping universe, those next instalments can be eagerly anticipated.