Franklin J. Schaffner
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The skillfully rebooted Planet of the Apes franchise has coaxed audiences to think of simian brethren as complex creatures with significant brain power, but Primate treats Ben strictly as a killing machine, as cunning as he is unrelenting.
Save for the existential terrors of the “Planet of the Apes” series and that one pivotal scene in Jordan Peele’s “Nope,” it would be difficult to scrounge up even one notable film that sees horror staring back at us with a heaving pant-hoot and an aggressive chest-pound.
Unlike many horror films about primates, their narrative is not about a King Kong gigantic ape or intelligent apes that fight the good fight (Planet of the Apes).
When Ben gets rabies, it is as if he is waking up to the infantilization and decided to start the “Planet of the Apes” franchise.
It won’t truly turn us into a planet of apes, but you could do a lot worse for a January horror film.
The Platoon parallels are the most obvious, right down to the final shot, while an early scene depicting a recent battlefield was reminiscent of everything from Patton to The Big Red One.
In a way, Fury and 1970's Patton could be considered companion pieces.
War for the Planet of the Apes (2017)
Directed by Matt Reeves
influenced by Planet of the Apes (1968)
Nothing, to my taste, beats the 1968 original "Planet of the Apes," but then again, few sci-fi films have matched that movie’s mix of thrills, high camp, and high concept, plus that great kicker of an ending.
This homage to the 1968 Planet of the Apes film will be remembered and respected for decades to come.
Something else that I really enjoyed about War is this idea that the Simian Flu had mutated, leaving any survivors susceptible to new, horrific effects, which is a nod to the type of humans we meet in 1968’s Planet of the Apes .
War for the Planet of the Apes, which caps this science-fiction trilogy, is not only the best installment of the new Apes films, it’s one of the best summer blockbusters in year — and the best Apes film since the original classic Planet of the Apes in 1968.
I am sure we will be seeing an all new trilogy in the coming years that will bring us back to the world of apes closer to that one depicted in the 1968 classic Planet of the Apes.
Several characters from the 1968 film appear here in younger form: Cornelius (played in Planet of the Apes by Roddy McDowell) is an infant and Nova (Linda Harrison) is a young girl.
Most militaries are moving away from using human pilots and into drones, so it’s not a coincidence that when Maverick begins his first lesson, he stands in front of an American flag as inspirationally as George C. Scott did to win his Oscar in “Patton.”
They will also have fun with nods to “Mad Max,” 1968's “Planet of the Apes” and even “Old Yeller” from 1957.AdvertisementArticle continues below this adYou could think of “Deadpool & Wolverine” as a movie written by smart, funny people (director Shawn Levy, heading a five-man writing team with Reynolds) with absolutely nothing to say, or you can think of it as a delight that's strictly for the Marvel fandom.
I'm sure there'll be a comprehensive bullet-pointed list of cameos on the film's Wikipedia page by the time you read this, but among other things I believe I spotted a S.H.I.E.L.D. helicarrier, the spires of the Williamsburg bridge (site of an important Spider-Man battle) and the top of the Statue of Liberty's torch (the original 1968 “Planet of the Apes” was a Fox production), all buried in the ground like the “two vast and legless trunks of stone” in Percy Bysshe Shelley's poem “Ozymandias.”
Despite employing the most hallowed, and yet derided, visual icon in science fiction: that of the Statue of Liberty in the midst of a post-apocalyptic desert landscape, Planet of the Apes remains a modern science fiction classic.
The King's Man (2021)
Directed by Matthew Vaughn
influenced by Nicholas and Alexandra (1971)
Characters
Ifans’ performance, which channels that of Tom Baker from 1971’s Nicholas and Alexandra (with a little swordplay stirred into the mix), brings a manic energy to the first third of The King’s Man.
At the risk of hyperbole, I'll say that Simmons' intensity, his raging command and sheer fearsomeness reminds me of nothing less than George C. Scott in Patton.
While it's clearly no "Papillon" as this one feels like a big dress up film compared to that grueling 1973 Steve McQueen picture, the moments are fairly entertaining and engaging thanks to some good performances and occasionally sharp writing.
As Jack travels further into the unknown, Kosinski creates a sense of unease and tension, not unlike Franklin J. Schaffner’s suspenseful pre-ape scenes in “Planet of the Apes.”
Enter John Chambers (John Goodman), a prosthetics guru whose work on simian features, for “Planet of the Apes,” earned him an Academy Award, in 1969, and whose talents the Agency has called on in the past.
As it happens, Mendez had a relationship with makeup artist John Chambers (John Goodman), who won an honorary Oscar in 1969 for his work on "Planet of the Apes."
Mendez enlists the assistance of make-up effects artist John Chambers (John Goodman), who had won an Oscar for his work on Planet of the Apes (1968), and a fast-talking movie producer named Lester Siegel (Alan Arkin)—a fictional conceit who takes the place of Robert Sidell, another make-up effects artist who worked with Chambers—to set up a production company, secure a script and preliminary production drawings, and con the Hollywood press into printing stories about the planned production before heading to Iran.
Dawn of the Planet of the Apes (2014)
Directed by Matt Reeves
influenced by Planet of the Apes (1968)
Plot
What’s nice about “Dawn” is that while we still see foreshadowing glimpses of the future as seen in the original 1968 “Planet of the Apes”–humans being caged, for instance–the sequel doesn’t try to hit the viewer over the head with references to the original movies as “Rise” sometimes did.
"Rise," directed by British writer Rupert Wyatt, melded smart science-fiction with great affection for Franklin Schaffner's original 1968 feature "Planet of the Apes."
But the outcome has already been set in Franklin J. Shaffner’s 1968 “Planet of the Apes” which proves that that will never be the case.
This installment inches events closer to a merge point with 1968's Planet of the Apes while maintaining its own unique identity.
Dating back to the original 1968 film, the “Planet of the Apes” franchise has been an exercise in sci-fi irony.
This is a sequel to Rise of the Planet of the Apes (2011), which itself was the prequel to a sci-fi franchise that began with Planet of the Apes in 1968 and which had burned out through multiple extensions and remakes.
Hardy embodies this bruiser, with his bald, beaming head and handlebar moustache, as a pure performance artist — frequently shown addressing an audience from the stage of his own mind (not unlike George C. Scott in Patton).
Holding all this commotion together, Jackson screams, sneers, and speechifies his way through a performance that's somehow equal parts George C. Scott in Patton and Robin Williams in Dead Poets Society.
To wax Aardmanesque for a second, if she’d played Eisenhower or Bradley in “Patton,” George C. Scott would not have been the whole show.
Chicken Run starts out as a spoof on prisoner movies (such as Papillon or The Great Escape) as the camera pans over a concentration-camp-style collection of chicken coops surrounded by barbed wire.
Enter Blake (Alec Baldwin), a suit from uptown who's sent into the trenches to give a Patton-like pep talk.
Fawcett, accompanied by an aide de camp (Robert Pattinson, erstwhile idol of the teen-vampire movies, now looking more like Dustin Hoffman in Papillon ), loses interest in his surveying job and instead pursues an archaeological find.
Chuck's obsession with escape takes on the same manic proportions as Steve McQueen in "Papillon" and, when he finally breaks free, you feel his thrill.
Stewart was bleakly haunted as Scottie in Hitchcock's Vertigo (1958), and Peck was dark as Josef Mengele in The Boys from Brazil (1978) and as Ahab in Huston's Moby Dick (1956).
The Matrix Reloaded (2003)
Directed by Lilly Wachowski
influenced by Planet of the Apes (1968)
Visuals
I felt a little disappointed, however, in the lack of vision for the society of the humans who can manufacture futuristic flight and hack into the most sophisticated program in the universe but still look like they stepped off the set of the 1968 version of “Planet of the Apes.”