This movie is just about a worthy successor to the original set of movies from the 20th century.
Like them, it uses state of the art special effects to wittily investigate contemporary questions of ethics, humanity, status and prejudice while distracting the popcorn crowd with an engrossing adventure of exploration, captivity and escape in a make-believe world that, in what is a strong science fiction tradition, is recognisably a few "what if?"'s away from our own.
Unlike the original five movies, where each sequel was originally unplanned, this is clearly a new "chapter one", taking the time to introduce some elements that will feature in the upcoming sequels.
Over and over it evokes the sense of wonder of the original handful, with plenty of specific visual, musical and thematic evocations. There are reognisable influences from the 1970s TV show and even some of the Apes comic book stories of that era. But, it is also unmistakably a post-Lord of the Rings epic, the influence showing up in how various action and travel sequences have been shot.
While there is not nearly so much sly humour as the originals, the socio-historic themes are more nuanced, closer to the surface and harder to miss. Questions of defining civilisation in terms of laws are answered in a way that will ultimately resonate with modern audiences; a layered and varied spectrum of responses to enslavement is shown; and as expected, anti-monarchist revolutions will always play well in the USA.
Non-Americans may roll their eyes a little at the very earnest equating of eagles with capital-L Liberty (one can't imagine Charlton Heston's sardonic and cynical George Taylor from the 1968 movie being very impressed), but on the plus side, Peter Macon's wonderful Raka just about matches the delightful charm of Kim Hunter's Zira and Roddy McDowell's Cornelius from the originals. Owen Teague also does a good job as Noa.
The various fight scenes are competent without being overly thrilling (the most exciting action is a cornfield chase vaguely inspired by the original 1968 film), but the deeper probing into the various sub-texts and a fine selection of minor characters keeps the interest levels up. One could pick nits about some of the physics shown in the last twenty minutes, but it's hardly the first Hollywood film to sacrifice strict logic for spectacle and it surely won't be the last.
Overall, this does a good job of working on several levels and should appeal to a good range of audiences.
Like them, it uses state of the art special effects to wittily investigate contemporary questions of ethics, humanity, status and prejudice while distracting the popcorn crowd with an engrossing adventure of exploration, captivity and escape in a make-believe world that, in what is a strong science fiction tradition, is recognisably a few "what if?"'s away from our own.
Unlike the original five movies, where each sequel was originally unplanned, this is clearly a new "chapter one", taking the time to introduce some elements that will feature in the upcoming sequels.
Over and over it evokes the sense of wonder of the original handful, with plenty of specific visual, musical and thematic evocations. There are reognisable influences from the 1970s TV show and even some of the Apes comic book stories of that era. But, it is also unmistakably a post-Lord of the Rings epic, the influence showing up in how various action and travel sequences have been shot.
While there is not nearly so much sly humour as the originals, the socio-historic themes are more nuanced, closer to the surface and harder to miss. Questions of defining civilisation in terms of laws are answered in a way that will ultimately resonate with modern audiences; a layered and varied spectrum of responses to enslavement is shown; and as expected, anti-monarchist revolutions will always play well in the USA.
Non-Americans may roll their eyes a little at the very earnest equating of eagles with capital-L Liberty (one can't imagine Charlton Heston's sardonic and cynical George Taylor from the 1968 movie being very impressed), but on the plus side, Peter Macon's wonderful Raka just about matches the delightful charm of Kim Hunter's Zira and Roddy McDowell's Cornelius from the originals. Owen Teague also does a good job as Noa.
The various fight scenes are competent without being overly thrilling (the most exciting action is a cornfield chase vaguely inspired by the original 1968 film), but the deeper probing into the various sub-texts and a fine selection of minor characters keeps the interest levels up. One could pick nits about some of the physics shown in the last twenty minutes, but it's hardly the first Hollywood film to sacrifice strict logic for spectacle and it surely won't be the last.
Overall, this does a good job of working on several levels and should appeal to a good range of audiences.