Mae's betrayal leads to shocking finale hinting at future conflicts between apes and humans
New trilogy begins in Kingdom of the Planet of the Apes
Noa and Mae try to prevent Proximus Caesar from obtaining advanced technology
The latest chapter of the Planet of the Apes saga may be just the beginning of a new trilogy. Kingdom of the Planet of the Apes sets up a new trilogy, introducing a ruthless new villain and bold directions for the series. Noa and Mae work together to prevent Proximus Caesar from obtaining advanced technology to enslave apes and humankind. Mae's betrayal leads to a shocking finale, hinting at a future conflict between apes and humans.
The explosive ending of Kingdom of the Planet of the Apes continues the legacy left behind by Caesar (Andy Serkis) in a variety of surprising ways. Taking place generations after Caesar's reign, this film dives deep into what life would be like for both apes and humans if they were forced to coexist. The story follows Noa and Mae as they try to stop Proximus Caesar from gaining control over advanced technology that could enslave both species. However, Mae's betrayal leads to a shocking ending that sets the stage for future conflicts between apes and humans.
The film explores themes of power, loyalty, and survival in a world where the lines between friend and foe are blurred. It also delves into how trust can be easily broken and how alliances can shift rapidly in times of crisis. The characters are complex and well-developed, making it easy for viewers to become invested in their fates.
Overall, Kingdom of the Planet of the Apes is a thrilling addition to this iconic franchise. It offers a fresh perspective on the age-old battle between apes and humans while also providing enough familiar elements to satisfy longtime fans. The film's stunning visual effects and intense action sequences make it a must-see for anyone who loves science fiction or just wants to be entertained.
In conclusion, Kingdom of the Planet of the Apes is a captivating and thought-provoking film that explores complex themes while also delivering non-stop action. It's a worthy addition to the Planet of the Apes saga and sets the stage for an exciting new trilogy. Highly recommended for fans of science fiction and action movies alike.
Nova, whose name is Mae, is a human survivor who has been living among the apes and hiding her identity.
Mae was part of a group of humans trying to reach Proximus Caesar’s base to prevent him from obtaining human technology and weaponry.
Proximus has captured some of the apes’ clan and Noa seeks to free them with Mae’s help.
Mae obtains a hard drive containing encrypted military information from the base.
Noa and his surviving clan apes escape to the roof and adjacent cliffside after Proximus destroys the sea wall, flooding the base.
Proximus demands submission before killing Noa but is attacked by several eagles beckoned by their song and falls off the cliff to his apparent demise.
Mae contacts another underground human resistance group through a long-dormant satellite array above ground using one of three identical drives obtained from the base.
Raka, an orangutan who helped Noa and Mae on their journey, may still be alive based on post-credits audio cues.
Caesar is a chimpanzee who became sentient and led apes in an uprising against humans.
After Caesar's revolution, apes lived peacefully but later became divided into hermetic clans with no communication among them.
Accuracy
]The new movie in the Planet of the Apes franchise, Kingdom of the Planet of the Apes, is a sequel to a trilogy that began with Rise of the Planet of the Apes in 2011.[
Caesar, played by Andy Serkis in motion capture, is a chimpanzee who became sentient and led apes in an uprising against humans.
After Caesar’s revolution, apes lived peacefully but later became divided into hermetic clans with no communication among them.
Some groups of apes live peaceful lives while others raid and pillage, disregarding Caesar’s primary law ‘Ape not kill ape.’
Noa, a young chimp in the new movie, sets out to find his lost tribe and comes into contact with Raka, an orangutan who is working on deciphering written language.
Proximus Caesar, played by Kevin Durand, is a tyrannical ruler of apes who holds fascist-style rallies and forces apes to perform labor.
Deception
(70%)
The article contains selective reporting and emotional manipulation. The author praises the previous installments of the Planet of the Apes franchise highly, setting up a high expectation for this new installment. However, she criticizes this new installment for not living up to those expectations, implying that it is inferior without providing any concrete evidence or analysis. She also expresses her personal disappointment and sadness about Caesar's death and the loss of the utopian world of apes, using emotional language to manipulate the reader's emotions. Furthermore, she highlights certain aspects of the movie, such as ape riding horses and big set pieces, while ignoring others that may be more significant or problematic.
But despite its impressive attention to craft—including exquisite motion-capture work by the groundbreaking digital-design studio WETA—Kingdom of the Planet of the Apes never fully establishes its reason for being.
I was especially impressed by an early scene in which a herd of loincloth-clad humans, along with our ape protagonists, is chased away from a watering hole by a pack of war-whooping apes on horseback.
The new fourth chapter in the saga, Kingdom of the Planet of the Apes, begins at the scene of his funeral,—then goes on to tell a story that revolves in large part around his place in ape history.
Fallacies
(100%)
None Found At Time Of
Publication
Bias
(95%)
The author expresses a clear preference for the earlier installments of the Planet of the Apes franchise, implying that the new one falls short. She also makes several comparisons between Caesar's character and Shakespearean monarchs, highlighting his moral complexities and leadership challenges. However, she criticizes the new film for lacking these same nuances in its exploration of power and authority.
But the Manichean opposition between the evil dictator and the gentle, bird-loving Noa is a far cry from the subtler exploration of power’s corrupting influence that was at work in the past three Apes installments.
Not unlike Shakespeare’s troubled monarchs (Prince Henry, Macbeth, King Lear), Serkis’ Caesar was repeatedly confronted by both external and internal challenges to his rule.
The new fourth chapter in the saga, Kingdom of the Planet of the Apes, begins at the scene of his funeral, then goes on to tell a story that revolves in large part around his place in ape history.
Planet of the Apes (1968) ends with a surprising image of the Statue of Liberty’s severed torso on the beach, symbolizing Cold War anxieties about nuclear proliferation and American democracy.
The movie transcended its B-movie pedigree and became an instant classic due to its doomy grandeur and narrative revelation.
Accuracy
Four quickie sequels were released between 1970 and 1973, with only Beneath the Planet of the Apes coming close to equaling the original’s sense of majesty.
Deception
(100%)
None Found At Time Of
Publication
Fallacies
(95%)
The author makes an appeal to authority by referencing the works of Christopher Nolan, M. Night Shyamalan, and Jordan Peele as having a common denominator with Planet of the Apes due to their 'conjoined conceptual elegance and thermonuclear impact' that was achieved through 'neatly plagiarized' twist endings. However, this is an informal fallacy as the author is making a hasty generalization based on a limited sample size and assuming that these directors' works are similar solely because of their twist endings.
The doomy grandeur of that tableaux helped Planet of the Apes transcend its B-movie pedigree and become an instant classic. Of the four quickie sequels released between 1970 and 1973, only 1970’s Beneath the Planet of the Apes came close to equaling its predecessor’s sense of majesty but fell short in the absence of any similar narrative revelation.
If there’s a common denominator between the movies of Christopher Nolan, M. Night Shyamalan, and Jordan Peele, it’s that they’re perpetually chasing the conjoined conceptual elegance and thermonuclear impact of Rod Serling’s climactic masterstroke
