I saw Kingdom of the Planet of the Apes

Director Wes (The Maze Runner) Ball's Kingdom of the Planet of the Apes, scripted by Josh (Terminator: Dark Fate/Paramount's The War of the Worlds 2005) Friedman occurs an implied, several hundred years after Matt Reeves/Andy Serkis' Caesar-led War of the Planet of the Apes. 

Per the plot, the intent of Caesar's constitution has become perverted, prompting apes to attack apes, despite the franchise's noted adage, "Ape shall never kill Ape" (though, let's face it, that proverb never held much practicality in the saga's social contention).

Owen (The Stand 2020/It Chapter Two) Teague's Noa heads the effort, a chimpanzee stationed somewhere between Caesar and Cornelius' ideologies. Noa's eagle-honoring village is burned by Kevin (Abigail/Robin Hood 2010) Durand's power-hungry gorilla, Proximus Caesar, with Noa's father, Neil Sandiland's Koa, killed during the invasion. 

It's been said that Kingdom is about seeking truth, but this noteworthy nugget is only part of the larger picture. Noa may seek truth, but he also seeks vengeful comeuppance, even if after much searching and contemplation, wrapped as it were in a self-preserving cloud. It's an understandable, if not logical approach, since allowing Proximus Caesar to go unscathed means his tyranny will spread. This Caesar also pursues the remnants of human technology to expand his regal stranglehold: disastrous leverage if permitted.  

Other characters participate in Noa's quest: Freya (The Witcher) Allan's Mae, aka Nova, a human whose starry sobriquet graces other Apes adventures; Sara (High Country) Wiseman's Dar, Noa's endearing mother; Peter (The Orville) Macon's mentoring orangutan, Raka; Lydia (Mr. Corman) Peckham's encouraging chimpanzee, Soona; Travis (Gallipoli 2015) Jeffrey's nervous but committed chimpanzee, Anya; Eka Darville's brutal, commander gorilla, Sylva; and William (Fargo 1996/Psycho 1998) H. Macy's Trevathan, a scholarly human wedged within Proximus Caesar's dictatorial dynasty.

Though several characters tend to get philosophical, most tend to fight, but then doesn't fighting leap from a philosophical perch? And those who fight look good doing so, especially through the lens of cinematographer Gyula (Maze Runner) Pados, who used old, camera techniques to give the movie (in particular its action scenes) anamorphic flair, in alignment with full-blown, avant-garde CGI. Much can be said, as well, of John (Maze Runner) Paesano's battle-ready score, which taps Jerry Goldsmith's psychotic percussions and Michael Giacchino's tribal swings. 

I can't say that Kingdom redefines the Apes legacy. However, I can say it's a top-caliber chapter in a juxtaposing mythology that keeps its ever morphing multiverse thriving. 

Since 1968, Planet of the Apes has stirred audiences' emotions, scrutinizing the human condition through its simian vantage. We're lucky to be blessed by a saga this provocative, and Kingdom perpetuates that tradition in a respectful and rousing way that should leave the generational legions yearning for more.