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  Twentieth Cenutry Fox Thade (Tim Roth), the military leader of the apes, subdues Leo (Mark Wahlberg).

By David Holmberg

Daily Bruin Staff

At last, something to go ape about this summer.

Unlike the rather cliche opening, Tim Burton’s new version of the classic “Planet of the Apes” is unexpectedly unique and characteristically bizarre, while still remaining true to the original science fiction fantasy.

Director Tim Burton, who is perhaps most famous for re-envisioning the “Batman” franchise, gives a surprisingly fresh sense of life to the rather tired “Ape” series. The new film is clearly not a remake, but rather a retelling of the now-classic tale of science fiction role reversal.

Regardless of what else may be said about Burton, his films always succeed in creating a stylistic world that previously only existed in his mind. His typically gritty and dark interpretation of old tales (“Batman” and “Sleepy Hollow”) is present again on this monkey world, and the result is extremely effective.

Gone are the campy elements of the original $6 million feature, and Burton looks to have used every penny of his $100 million budget wisely. The film is slick and well designed, while still resting on a relatively firm plot.

The story follows the original to a certain degree, with a few twists and additions to liven it up.

After chasing a test monkey into an electromagnetic storm in the year 2029, astronaut Leo Davidson (Mark Wahlberg) finds himself crash landed on a planet where apes rule.

Burton’s film delivers surprisingly strong performances all around.

Although viewers feel a sort of guilty longing for the scowling Charlton Heston, Wahlberg plays the stranded astronaut realistically enough. His acting goes much further than Heston ever would have allowed, even delving into sensitive emotional territory when he realizes he may have caused the whole situation.

In opposition to the rebellious Davidson is the ape General Thade, played by the unrecognizable Tim Roth. His portrayal is downright frightening, as he lashes and jumps wildly about in every scene.

Decidedly more toned down, but no less recognizable beneath her makeup, is Helena Bonham Carter as the sympathetic Ari, who helps the human rebels escape, much as Kim Hunter’s Dr. Zira did last time around. The fascinating concept of interspecies sexual tension between Davidson and Ari is touched upon, but goes no further.

In the group escaping with Davidson are Karubi, played by the always grizzly Kris Kristofferson, and Estella Warren as Daena, who has the amazing ability to remain stunningly radiant, even in rags and dirt.

Not one to let a movie fall too deeply into itself, Burton adds several small but wonderfully tasteful comedic moments to break the seriousness.

Several lines are also humorously reminiscent of the original “Planet of the Apes,” including one during a cameo by Heston himself, who delivers his famous “Damn them, damn them all to hell!” quote, only in slightly different circumstances.

Most remarkable are the realistic portrayal of the apes, particularly in their movements. They lumber and swagger about in such a convincing display that it is impossible to imagine that these human-like apes would move any other way.

Huge fans of the original series (are there any huge fans of the original series?) should be well satisfied, given the fairly true adherence to the first film’s fundamental story.

The principal story of human enslavement is still well intact, in fact probably more so than in the original. The initial capture and subsequent selling of the humans in the 2001 version feels more closely based on the European entrapment of Africans hundreds of years ago, especially when compared to the 1968 film.

The original “Planet of the Apes” was released in 1968 as a parable for the black and white tensions during the end of the Civil Rights Movement, when race relations were still strained.

Using the seeming absurdity of a white man forced to become a slave to an advanced civilization of apes, the intent was to likewise show the nonsense of discrimination based on color.

Given that the ape planet on which Wahlberg finds himself is a different one from Heston’s, there is the problem of no longer having the classic surprise ending when Heston sees the Statue of Liberty and realizes that he is on earth, not some foreign world.

So a new conclusion has been concocted, which granted is a surprise, but feels exceedingly forced and unnecessary. It is more of a gimmick than a meaningful plot point. The movie is satisfying enough without the trick finale, and instead of it leaving the audience stunned with disbelief as the original did, it provides merely head-scratching confusion.

Despite the last minute faltering of Burton’s newest creation, it is still a triumphant journey into his characteristically revisionist style.

But be warned, this is not your parents’ “Planet of the Apes.” It is a modernist re-interpretation of an inspired concept. And thanks to deft acting, stylistic direction and the help of modern technology, an admirable new chapter, or more accurately a whole new volume, of the “Planet of the Apes” saga has been created.