Apes vs. humans

Full appreciation for the fantastic new War for the Planet of the Apes requires thorough familiarity with the original 1968 Planet of the Apes and its 1970 sequel, Beneath the Planet of the Apes. Enjoy the binge: The two sci-fi masterpieces, set 2,000 years in the future, still shock with grim vistas and devastating finales.

The less-than-sensational third, fourth, and fifth films of the original Apes series, however—set in the present day and near future when apes rise and humans fall—warranted reimagining. The 2011 Rise of the Planet of the Apes, 2014’s Dawn of the Planet of the Apes, and now (from director Matt Reeves and screenwriter Mark Bomback) War for the Planet of the Apes have proven themselves worthy revisions. (Skip Tim Burton’s 2001 Planet of the Apes remake, blighted by lo-fi sets and bland characters.)

Here’s where Dawn left off: Only 1 in every 500 persons has survived the global simian flu pandemic. The peace-minded ape leader Caesar kills the mutinous Koba, who wrecked an opportunity for apes to coexist with the remaining humans.

“Ape started war,” Caesar tells his trusted human friend, Malcolm. “And human will not forgive.”

As War for the Planet of the Apes opens two years later, a maniacal, military cult leader, Col. McCullough (Woody Harrelson), tips the spear of vengeance. He and his soldiers locate the apes’ colony deep in the Northern California woods and kill some of them. Caesar (Andy Serkis) sends his kindred in search of a new home, while he tracks McCullough back to the colonel’s heavily fortified compound. A second militia from the far north is marching toward McCullough’s lair, though its objectives are not immediately known.

Woody Harrelson (center) as Col. McCullough TM & © 2017 Twentieth Century Fox Film Corporation

A gripping, personal story about Caesar, who wrestles against his hatred for McCullough and struggles to protect his vulnerable tribe, rises above the battle sequences. The film abounds in symbolism, including allusions to the historical mistreatment of Native Americans (a variation on the original series’ take on black-white relations). Imagery from the first two original films appears, such as the crosslike execution devices and an intriguing restyling of the AΩ lettering as an anarchy symbol. The film also explains why humans lose their ability to speak.

The film’s CGI and motion-capture technology stuns: The apes’ faces express the most subtle emotions. One unwelcome addition: War is the first Apes film to introduce a character for comic relief. Snooty Apes purists (like me) will find the role of Bad Ape (Steve Zahn) indecorous.

Out of necessity, Caesar has violated the apes’ first commandment: “Ape must not kill ape.” But at least the apes don’t take the Lord’s name in vain. The humans’ expletives (oddly absent from the MPAA’s official rating) and both species’ acts of violence earn the film its PG-13 rating.

Reeves ends the prequel trilogy in a deserving manner. Who knows if a future generation will take up these films again?