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. 

CASTLE OF FRANKENSTEIN: JUNGLE QUEENS, KING ALIENS, PLANET OF THE APES & MORE

Castle of Frankenstein, courtesy of Scary Monsters Magazine, strikes back with an issue that overflows with varied visions from renowned and rare sources.

For #38's kickoff, the prolific Baron Von Neck reviews the sinister submissions, Arnold; The Body Shop; Curse of the Stone Hand; Cannibal Girls; Sugar Skull Girls; The Evil Eye (aka The Girl Who Knew Too Much); The Invisible Menace; Grabbers; Maggots; The Manipulator; The Monster of Camp Sunshine; Kiss Daddy Goodbye; The Sins of the Fleshapoids; Soultaker; and that once-lost but now-found, zombie curiosity, The Dead One. 

Readers are also treated to Dave Allen's labor of love, The Primevals; Marcus Boas' memories as a Castle of Frankenstein artist; a scientific probing of Planet of the Apes (with Linda Harrison as this issue's "Slaymate of the Month"); The Grim Reaper on film; unmade Hammer flicks; Frankenstein Meets the Wolfman, as if told by J.D. Salinger; steamy, jungle queens; Lou Russo's monsterized, girlie comic strip; Mike Bogue's time-tripping assessments of Indiana Jones and the Dial of Destiny and The Flash; Stephen King's extraterrestrial tales; and the hearty horrors of Epix's From. 

The new Castle of Frankenstein has a bit of everything for everybody, and it can be obtained at

https://www.mymoviemonsters.com/store.php/mymoviemonsters/pd10706153/castle_of_frankenstein_magazine_38__preorder_coming_fall_2023

TERRIFIC TEAM-UP IMAGE: GO APE! (THE FOUNDING FIVE)

TERRIFIC TEAM-UP IMAGE: BEATLES OF THE APES

HAPPY 50TH ANNIVERSARY PLANET OF THE APES!!!

February 8, 2018 marks the 50th Anniversary release of "Planet of the Apes". The premiere commenced at New York's Loew's Capitol Theatre and the 72d Street Playhouse, with wider distribution following in March, which then expanded into the spring and summer, where it ruled the drive-in theater circuit.

Thanks to producers Arthur P. Jacobs and Richard D. Zanuck, "Planet of the Apes" offered an imaginative and sometimes frightening observation of our world through a parallel-reality lens, and unlike a recent polarizing, space adventure, it wasn't one-sided or propagandist. The story was identifiable to all who viewed it, no matter what their ideological bent, which is perhaps why the movie sparked the world's pop-cultural consciousness and birthed four, theatrical sequels, in addition to further incarnations that continue to this day.

If the truth be known, "Planet of the Apes" is, for all intents and purposes, a "Twilight Zone" tale, and of course, Rod Serling's involvement in the Pierre Boulle "Monkey Planet" adaptation confirms that. Like the best "Twilight Zones", "Apes" is an essay of irony, truth, deceit, rejection, hope, life and death. It also offers crisp dialogue, crackerjack direction by Franklin J. Schaffner, a powerful soundtrack by Jerry Goldsmith, and a cast like no other, with characterizations that still remain unsurpassed. Oh, and how 'bout that ending! The most iconic in all of cinema history!

If you haven't watched the original in a spell, or by some perplexing chance have never seen it, give yourself an edifying treat with a (re)visit. There are few films (if none) that can match this one and the legacy it spawned. It deserves its classic status and stands as the ultimate blueprint for how allegorical fables should be told.

Long live "Planet of the Apes"!!!

Collectible TIme #89: Planet of the Apes, The Original Topps Trading Cards Series Book

To coincide with Matt Reeves' "War for the Planet of the Apes", Abrams ComicArts has granted us evolved-simian fans an extra treat by releasing the hardback "Planet of the Apes: The Original Topps Trading Card Series": a chunky (6" x 1.7 x 7.2 ") collectible about a specialized type of collectible, which youngsters (and many adults) avidly consumed in '69/'75 and beyond. 

Author Gary Gerani (who's taken a similar approach for volumes on Topps' "Star Trek" and "Star Wars" trading cards) presents all three "Apes" series for our heartfelt delight.

The initial set stems from the Rod Serling/Michael Wilson adaptation of Pierre Boulle's "Monkey Planet, which hit mom-and-pop stores a year after Franklin Shaffner's "Planet of the Apes" became all the rage. 

The second is derived from the short-lived '74 CBS series, which spawned a profits bonanza which (as Roddy McDowall so astutely acknowledged at a Fangoria convention I attended in the '90s) could have sustained the show for an indefinite time. Oh, well...

The third set comes from the Tim Burton's controversial, though financially successful 2001 reboot, which in its own right, spawned a slew of toy and novelty tie-ins.  

What made the '60s/'70s sets particularly endearing was their convenient reproduction of story lines. VHS, after all, hadn't yet hit the scene, and the Super 8 "Apes" offerings were at best abbreviated and often in black-and-white. Through these cards, one could relive "Planet of the Apes" via a string of dynamic, mini stills and at an affordable, stick-of-bubble-gum-included price. 

Also, as with other such card sets, the "Apes" entries featured illustrated, back-of-card data on the characters and their related scenarios. The photo reproductions were for the most part clear and focused; and in the case of each release, designed similarly, with the '60s/'70s versions featuring curled captions at the bottom, right-hand corners. (The '70s release even allowed one to construct puzzles of scenes.) Though the Burton set has a border-less distinction, it nonetheless imitates the back-of-card format and included among its content (if one were lucky to land the right packs), authentic, autographs from the cast. Wow!

The book's graphic design is most pleasing, printed on high-quality stock and features such supplemental images as the cards' display boxes and fanciful wrappers. The book, itself, is adorned by a simulated card-wrapper jacket, taken from the '70s release. 

For those who experienced these sets (particularly the '60s/'70s ones), their pop-cultural impact goes without saying, but for those out of the loop, the "Apes" tie-ins (cards and otherwise) set the marketing standard for later merchandising sprees, including Fox's next, big franchise: "Star Wars". 

As an incentive, Gerani's book costs under $20, with each volume containing several, reproduced "Apes" cards: a nice touch to an homage that's certain to bestow readers with hours of enjoyment. Ah, how sweet those apocalyptic memories can be...

An Alternate Reality #17: I saw the Apes at War...

Matt Reeves' retelling of “Battle for the Planet of the Apes” wasn’t through, as we now know, for “War for…” takes elements of the ’73, so-called "final chapter" to a new, belligerent level. As with the original-cycle entry, this parallel “Apes” chapter determines whether simians or humans will dominate Earth. This time, however, we don’t have Gary Oldman’s Dreyfus standing in lieu of Severn Darden's Kolp, but instead Woody Harrelson’s Colonel McCullough. And man, oh man, is the ol' Colonel ever a determined bastard.

Considering what’s at stake in director/writer Reeves' sequel (coauthored by Mark Bomback), one can’t fault the military man, any more than one can fault Caesar (Andy Serkis) for amplifying the adversity. As in real-life, this alternate-reality take of an established alternate-reality history, demonstrates how explosive opposing sides can be. Under the Colonel, however, the humans appear on the upswing, though perhaps not for long. An onslaught of desires, contempt and bloodshed awaits both ends, with an unexpected faction ultimately entering to turn the story on its head. 

“War”, in this respect, lives up to its title. Even in its gentlest parts (and oh, there are many and so lovingly blessed by Michael Giacchino's sweet score), it stays hard-hitting. It honorably lifts “Battle’”s most confrontational scenes, but also pays homage to "Apocalypse Now"; “To Hell and Back”; “Hacksaw Ridge"; "A Walk in the Sun"; plus any number of John Wayne pictures, war or western based. 

At "War'"s start, we learn that Caesar has molded his apes into a well-oiled, fighting machine. The noble chimp doesn't wish hostilities to rise, but nor does he want his followers to be left unprepared in the event of attack. No matter how hard he tries, though, his people gain casualties and unfortunately, those close to Caesar's heart fall victim to the enemy. 

Despite this, the prospect of peace isn't entirely off the table, and its symbolism comes via a human girl (Amiah Miller), whom the apes discover along the way. She comes to be named Nova (a gracious nod to Linda Harrison's shapely character). Caesar, thanks to Maurice (Karin Konoval)'s insistence, comes to care for the lass, just as he does those of his kind. He's a well rounded "emperor", after all: one with an open mind, a caring heart, but at the same time, one who acknowledges the risk in growing soft, regardless of Nova's contagious innocence. 

Alas, for all his noble intent, Caesar soon finds himself in the Colonel's clutches. The two have an opportunity to talk, negotiate, but due to the Colonel's contempt, the fires of animosity get stoked ever higher. 

This is by no means surprising. Whether one likes it or not, tensions regarding who-rules-what are unavoidable, with war generally the result. Though this idea might unsettle many a millennial, it does appear to be the film's predominate theme and is a common part of existence, no matter what the "reality". In other words, that a peaceful outcome appears unattainable in "War" is realistic and makes the circumstances more credible throughout. 

As fans know, this no-nonsense approach has become an "Apes" tradition and can be found, to some extent or another, in any of the adventures. The Colonel may be insanely hardheaded, but that he holds his ground only sharpens the tale's merciless sting. The Colonel's stance allows others, on either side of the coin, to test their mettle, even if their reasoning sometimes proves as faulty as their hearts prove courageous. 

Because of this, "War'"s greatest strength lies in its purposeful participants. Isn't characterization, after all, the ticket to any quality drama? If we can't identify with (or for villainy's sake, resent) characters, why bother engaging in their journey? "War" makes us care. 

Beyond dispute, Caesar and the Colonel set the standard for this, but they're not alone in their influence. The eccentric (if not occasionally Gollum-like) Bad Ape (Steve Zahn) becomes the movie's scene stealer, just as Serkis' famous character had become in Peter Jackson's Tolkien films: quirky, charismatic and for a brief time, enigmatic. When push comes to shove, however, he does prove to be an asset to Caesar, and more than any other character in the film, epitomizes its nervous optimism and continual grasp for a satisfying resolution, to the point where one wonders why Reeves didn't introduce him sooner into the saga. 

Regardless of its strength of characterization, many will still debate whether "War" is the franchise's most profound chapter: whether in comparison to Pierre Boulle's "Monkey Planet"; the original theatrical series; or its alternate offshoots. However, no matter what its rank in the grand scheme, "War" stays tight and focused throughout: an admirable quality for any imagi-tale.

I only wish more films could march to the same beat. Too much hollow talk, just like too much hollow action, only goes so far, but identifiable characters and scenarios can sustain a saga for decades. I imagine that's why "Apes" has never slipped from the culture's collective consciousness. It's why its latest chapter (along with the film's contained archetypal personalities and "God damn you all to hell" destruction) won't be its last, which leads me to declare with war-ravaged gusto--Hail Caesar! Hail Bad Ape, the Colonel, Maurice, dear Nova and all the rest! Hail forever and always the incomparable Planet of the Apes! We've already gained much from this franchise, but we've so much more yet to learn, as "War" so generously exemplifies. 

An Alternate Reality #16: Tarzan on the Planet of the Apes

Dark Horse/Boom!'s "Tarzan on the Planet of the Apes" is now contained in a complete, softback (144 page) collector's edition. For alternate-reality fans, and those who hold an interest in Edgar Rice Burroughs' works and/or the initial, cinematic incarnations of Pierre Boulle's novella, this crossover stands as a recommended treat-and-a-half. 

The adventure was penned by Daniel F. Walker and Tim Seeley, with artwork by Fernando Dagnino, assisted by Sandra Molina and Nate Piekos, with cover-art insertions by Duncan Fegredo. The collaborative effort is a moving and exciting offshoot that redefines the mythologies of both Lord Greystoke and those world-shaking, speaking simians. At the same time, the story nurtures many of the familiar elements that made both franchises engaging, allowing the parallel structure to click on all counts.   

The comic's events initiate during the early part of the 19th Century, with Cornelius and Zira having spun back in time about seventy years prior to what we encounter in "Escape from the Planet of the Apes". Their son, Caesar (aka, Milo) is for all intents and purposes, a youthful version of Roddy McDowall's persona, but this time positioned in Africa, where Cornelius and Zira have adopted young Tarzan. Other famous apes, like General Ursus and Kerchak enter the story, along with several immoral humans, as the adventure weaves swiftly through its dimensional portals.  

This alternate-reality experiment also features creatures from Burroughs' Pellucidar, but their exciting assaults never deter from Caesar's pursuit for liberation. From this, civil-rights concerns surface: a resonating component in all of the "Apes" time lines, but such holds equal importance in Tarzan lore, for would the ape man ever ignore the persecuted?

The authors present Tarzan as the ideal companion to Caesar and his cause: a superhero not only raised by loving apes, but one who employees a strength and insight that rivals other humans, while the son of Cornelius/Zira projects a tactical reasoning beyond those he champions. Walker/Seeley's insightful storytelling also acknowledges (albeit subtly) that both heroes are defiant outcasts and in their own right, underdogs: a common denominator that's made these icons empathetic, regardless of their extraordinary traits. 

Throughout, Cornelius, Zira and Caesar behave much as they do in the original "Apes" movies, though we never got to see them interact as they do here. (Dagnino's detailed storyboard helps bring credibility to the merger.) Tarzan, on the other hand, becomes a surrogate George Taylor, but otherwise represents his literary source. Of course, how can one not superimpose one's own favorite, cinematic Tarzan in lieu of Dagnino/Fegredo's renderings? And there's no doubt that Walker/Seeley's fable would make a swell action/adventure film.

With that said, why hasn't someone yet taken the plunge and made an animated movie of this? While we're at it, "Star Trek/Planet of the Apes: Prime Directive" (see "An Alternate Reality #11": Aug '15) would work wondrously, as well. Fans would line up around the block to see/purchase such time-twisting tales, especially now that multiverse sojourns are en vogue.  

Nevertheless, the existing "Tarzan/Apes" is satisfying and rewarding in its own brilliant way: an inspired, page-turner from start to finish. And man, oh man, the finish is as memorable as any a reader could desire for Tarzan and Caesar: two of the roughest, toughest freedom fighters to ever occupy the jungle or for that matter, the altered centuries.