Blockbuster
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If the series of blockbusters had until now convinced, its last part, served by monumental special effects, is losing consistency.
Hollywood abhors a vacuum – in the land of big machines, holes are made to be filled, space saturated and stories closed. So when, in this asphyxiating jungle, a little breath and breadth intrude, we admire, we exalt, we cry out for an exploit. And that committed by the trilogy of the Planet of the Apes, initiated in 2011, was not negligible. Relaunch a franchise that has been badly abused since Franklin J. Schaffner’s inaugural film in 1968 (four sequels, two series and a remake, all tossed out) with three backfires of unexpected quality (the origins in 2011, the confrontation in 2014, Supremacy in 2017), which today appear in the (very) top of the basket of blockbusters of the last twenty-five years. Obviously, when the affair resumes, we say “yes”, we say “please”, we say “and how”.
Implacable rhythm and screaming polychromy
Set several generations later Supremacy, the New Kingdom follows a young monkey, Noa, member of a peaceful clan, in a world where nature has regained its rights and where primates now reign alone. Well almost, since it doesn’t take long for a human to appear, triggering a torrent of annoyance into which Proximus Cesar, the crazy monarch of a Babylonian kingdom, and his army of gorillas ready to destroy everything, will tumble. Like its predecessors, the film, which calls on the two scenarios
