Movie Review: ‘Kingdom of the Planet of the Apes’ Finds a New Hero and Will Blow Your Mind

 This image released by 20th Century Studios shows a scene from "Kingdom of the Planet of the Apes." (20th Century Studios via AP)
This image released by 20th Century Studios shows a scene from "Kingdom of the Planet of the Apes." (20th Century Studios via AP)
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Movie Review: ‘Kingdom of the Planet of the Apes’ Finds a New Hero and Will Blow Your Mind

 This image released by 20th Century Studios shows a scene from "Kingdom of the Planet of the Apes." (20th Century Studios via AP)
This image released by 20th Century Studios shows a scene from "Kingdom of the Planet of the Apes." (20th Century Studios via AP)

Fans of the “Planet of the Apes” franchise may still be mourning the 2017 death of Caesar, the first smart chimp and the charismatic ape leader. Not to worry: He haunts the next episode, the thrilling, visually stunning “Kingdom of the Planet of the Apes.”

We actually start with Caesar's funeral, his body decorated with flowers and then set alight like a Viking, before fast-forwarding “many generations later.” All apes talk now and most humans don’t, reduced to caveman loin cloths and running wide-eyed and scared, evolution in reverse.

Our new hero is the young ape Noa (Owen Teague) who is like all young adult chimps — seeking his father's approval (even chimp dads just don't understand) and testing his bravery. He is part of a clan that raises pet eagles, smokes fish and lives peacefully.

That all changes when his village is attacked not by humans but by fellow apes — masked soldiers from a nasty kingdom led by the crown-wearing Proximus Caesar (Kevin Durand, playing it to the hilt). He has taken Caesar's name but twisted his words to become a tyrannical strongman — sorry, strongape.

Unlike the last movie which dealt with man's inhumanity to animals — concentration camps included — ape-on-ape violence is in the cards for this one, including capturing an entire clan as prisoners. Proximus Caesar's goons use makeshift cattle prods on fellow apes and force them to work while declaring “For Caesar!”

Screenwriter Josh Friedman has cleverly created a movie that examines how ancient stories can be hijacked and manipulated, like how Caesar's non-violent message gets twisted by bad actors. There's also a lot of “Avatar” primitive naivete, and that makes sense since the reboot was shaped by several of that blue alien movie’s makers.

The movie poses some uncomfortable questions about collaborationists. William H. Macy plays a human who has become a sort of teacher-prisoner to Proximus Caesar — reading Kurt Vonnegut to him — and won't fight back. “It is already their world,” he rationalizes.

Along for the heroic ride is a human young woman (Freya Allan, a budding star) who is hiding an agenda but offers Noa help along the way. Peter Macon plays a kindly, book-loving orangutan who adds a jolt of gleeful electricity to the movie and is missed when he goes.

The effects are just jaw-dropping, from the ability to see individual hairs on the back of a monkey to the way leaves fall and the crack of tree limbs echoing in the forest. The sight of apes on horseback, which seemed glitchy just seven years ago, are now seamless. There are also inside jokes, like the use of the name Nova again this time.

Director Wes Ball nicely handles all the thrilling sequences — though the two-and-a-half hour runtime is somewhat taxing — and some really cool ones, like the sight of apes on horseback on a beach, a nod to the original 1968 movie. And like when the apes look through some old illustrated kids' books and see themselves depicted in zoo cages. That makes for some awkward human-ape interaction. “What is next for apes? Should we go back to silence?” our hero asks.

The movie races to a complex face-off between good and bad apes and good and bad humans outside a hulking silo that holds promise to each group. Can apes and humans live in peace, as Caesar hoped? “Kingdom of the Planet of the Apes” doesn't answer that but it does open up plenty more to ponder. Starting with the potentially crippling proposition of a key death, this franchise has somehow found new vibrancy.



Judge Dismisses Justin Baldoni’s $400M Lawsuit Against ‘It Ends With Us’ Costar Blake Lively

Justin Baldoni attends the 'It Ends With Us' premiere in New York City, US, August 6, 2024. (Reuters)
Justin Baldoni attends the 'It Ends With Us' premiere in New York City, US, August 6, 2024. (Reuters)
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Judge Dismisses Justin Baldoni’s $400M Lawsuit Against ‘It Ends With Us’ Costar Blake Lively

Justin Baldoni attends the 'It Ends With Us' premiere in New York City, US, August 6, 2024. (Reuters)
Justin Baldoni attends the 'It Ends With Us' premiere in New York City, US, August 6, 2024. (Reuters)

A judge on Monday dismissed the lawsuit that actor and director Justin Baldoni filed against his "It Ends With Us" costar Blake Lively after she sued him last year for sexual harassment and retaliation.

US District Court Judge Lewis Liman's decision is the latest development in the bitter legal battle surrounding the dark romantic film.

Baldoni and production company Wayfarer Studios countersued in January for $400 million, accusing Lively and her husband, "Deadpool" actor Ryan Reynolds, of defamation and extortion.

The New York judge ruled that Baldoni can’t sue Lively for defamation over claims she made in her legal claim, because allegations made in a lawsuit are exempt from libel claims. Liman also ruled that Baldoni's claims that Lively stole creative control of the film didn't count as extortion under California law.

The judge, however, said Baldoni could revise the lawsuit if he wanted to pursue different claims related to whether Lively breached or interfered with a contract. His legal team indicated it planned to do so.

"Ms. Lively and her team’s predictable declaration of victory is false," one of Baldoni's lawyers, Bryan Freedman, said in a statement. He said that Lively's claims that she was sexually harassed on the film set, and then subjected to a secret smear campaign intended to taint her reputation, were "no truer today than they were yesterday."

"It Ends With Us," an adaptation of Colleen Hoover’s bestselling 2016 novel that begins as a romance but takes a dark turn into domestic violence, was released in August, exceeding box office expectations with a $50 million debut. But the movie’s release was shrouded by speculation over discord between Lively and Baldoni.

The judge also dismissed Baldoni's defamation lawsuit against The New York Times, which had reported on Lively's sexual harassment allegations.

"Today’s opinion is a total victory and a complete vindication for Blake Lively, along with those that Justin Baldoni and the Wayfarer Parties dragged into their retaliatory lawsuit, including Ryan Reynolds, (publicist) Leslie Sloane and The New York Times," Lively's attorneys, Esra Hudson and Mike Gottlieb, said in a prepared statement.

The lawyers said they "look forward to the next round" of seeking attorneys’ fees, treble damages and punitive damages.

A spokesperson for The New York Times said they were "grateful to the court for seeing the lawsuit for what it was: a meritless attempt to stifle honest reporting."

"Our journalists went out and covered carefully and fairly a story of public importance, and the court recognized that the law is designed to protect just that sort of journalism," Charlie Stadtlander said in an emailed statement.

Lively appeared in the 2005 film "The Sisterhood of the Traveling Pants" and the TV series "Gossip Girl" from 2007 to 2012 before starring in films including "The Town" and "The Shallows."

Baldoni starred in the TV comedy "Jane the Virgin," directed the 2019 film "Five Feet Apart" and wrote the book "Man Enough."