Director Rupert Wyatt, whose last picture The Escapist (2008) also featured the talented Brian Cox, achieves something quite extraordinary within the scope of the blockbuster film. Rise of the Planet of the Apes marks Wyatt’s fourth attempt at directing. Quite effectively, he taps into the zeitgeist with a penetrating gaze.

Forward-looking scientist Will Rodman (James Franco) seeks out a cure for Alzheimer’s disease but gets much more than he imagined when his treatments directly affect the chimpanzees being tested on. One experiment goes wrong, leading to a pleasant discovery: Caesar, a newly born but highly intelligent ape. Will takes him home and raises him like a human child. Inevitably, disaster strikes when the over-protective Caesar attacks the next door neighbour. Taken to an ape sanctuary, he is mistreated by the owner’s son, Dodge (Tom Felton). Yet, the ape’s super intellect causes him to reach out among his own kind, which leads to a revolution in the process.

At times, the director may test the viewer’s patience by establishing, very slowly, Caesar’s behavioural patterns. However, this imbues the film with a sense of charm. Wyatt doesn’t rush or impose the action on the audience. When atmosphere is given the same level of clarity as the central narrative hook, it makes for quite an immersive experience.

Andy Serkis seems to be making a career based on playing characters where the end result has a strong computer generated base. His Gollum and King Kong incarnations were mildly captivating, if derivative, while Caesar in Rise of the Planet of the Apes finds him undertaking a greater personal risk. With all the nuances given here, he appears timid, yet powerful -- a born leader -- whose evolved intellect sets the theme. The line between ape and human qualities becomes increasingly blurred, especially during one revelatory moment. 

Composer Patrick Doyle shakes every drop of inspiration from the frame and carefully adds a melody which, well developed throughout, demonstrates a measure of screen craft uncommon in anyone, except maybe household favourites like John Williams and Jerry Goldsmith. The subtle feelings and constantly shifting tone point to excellence, while never straying from the “less is more” credo.

Brian Cox appears as the only fill-in performer. His lines say little in a large space and his facial expressions bespeak of boredom. James Franco has plenty of activities to keep his mind in motion, while Freida Pinto (as the obligatory girlfriend/love interest) offers conveyer belt support. Her reactions are designed by committee and executed with a model’s indifference.

Andrew Lesnie achieves fine lensing inside a project where pacing matters the same way that a mind-blowing visual effect attaches itself to a scene. Talking effects, the apes look convincing -- they move better than their live action counterparts. Overall, this film should inspire others to go apey over the pristine feeling of quality which informs every act of the screenplay. It’s not brainwashed by mimicry or even mildly self-serving. It feels like pure intelligence mounted on the back of an entertaining ride.

(Released by Twentieth Century Fox Film Corporation and rated “PG-13” for intense and frightening sequences of action and violence.)