“Rise of the Planet of the Apes,” a cheerful funny movie about the end of humanity that is critical PETA approved – no animals were harmed in its making, and was not the career of James Franco – is precisely the type of summer diversion studies are so difficult to do now. It’s good, smart, silly fun. The use of latest technologies such as Doom in the service of the old hospital, emphasizes the emotional truth of his absurd story, his tongue in cheek (and control), while providing self-conscious asides, as Charlton Heston ritual bow, the hero lockjaw of original 1968 “Planet of the Apes.”

While an origin story for an appropriate period Freakout kick in the rear of the franchise, the new “Apes” film takes place in a present that, with certain exceptions (including a space mission), it seems plausible as ours . Mr. Franco – serious, focused, friendly – Rodman is played, a scientist and romantic idealist who is a arrogant mistake of becoming a latter-day Frankenstein. As the headquarters of the Gen-Sys bright, the pharmaceutical giant he works for, Will makes science look good, as it buzzes around his white lab coat. They rarely have big pharma-like events seemed so harmless, at least if not taken into account in the doped animals aspiring wonder drug expected to Alzheimer’s cure.

It is not long before the temple of scientific rationalism is kablooey. One afternoon, a chimpanzee appreciated, known as Bright Eyes for the odd green tint of his stars, had a fit, running amok through the laboratories of Gen-Sys and the meeting room where Will is throwing his cure to his boss ( David Oyelowo) and prospective investors. Oops! Cut by a bullet, Bright Eyes both ends of Dreams offers immediate and something like a new beginning in the shape of your baby, a bundle of joy bestial. A man goes out of science, as the father accidentally takes children’s home, where he was baptized by Father Cesar own Will, Charles (John Lithgow), and grows rapidly, quickly becoming a vibrant, curiously, the very young smart.

After this preamble brisk, “Rise of the Planet of the Apes” is based on a stretch fun. César human cozies at home for a reverse version of the first “Apes” film (with shades of “Curious George”), if mostly without incident, despite any static with a neighbor (David Hewlett). Time passes, and Caesar becomes stronger and smarter than Will discovers a love (Freida Pinto) and Charles, who suffer from Alzheimer’s gets worse. In desperation plays God and becomes Charles in his next experiment, being both son and father to his own laboratory rats. More time passes, and a story about a modern blended family changes in a cautionary tale of nervousness about the domination of man over nature and becomes “monkeys” in a strange double the recent documentary “Project Nim” on a chimpanzee who was used and abused in the 1970s in the name of science.

It is likely that the writers Rick Jaffa and Amanda Silver and director Rupert Wyatt Nim were so familiar with – that is mistakenly thought to understand human language and was later tragically abandoned by their handlers – as they were with the “monkeys” of the franchise. (The wink filmmakers to film several times before, as with a team from the waste of space and a Statue of Liberty toy. ) Moreover, the exploitation of animals in the name of human progress is a staple of horror fiction, and in the 1960′s and ‘screens flooded 70 years prowling rats, rabbits, sharks and even more monkeys as the animals magical Walt Disney generation gave way to the Avengers with fangs and hairy hippie nation. “Rise of the Planet of the Apes” can be calculated decision primarily a business, but also a joker smiley (or film) of the toe of the environment.

Not to overstate the ethical issues – a cousin of the movie certainly not. Designed to entertain, “Rise of the Planet of the Apes” can be awkwardly named, but almost everything else is generally tolerant, including climate inevitably action and human performance and attendance in digital form. Foremost among the creations that are Caesar’s team, which evolves from a ball of lint on a naughty child, a moody teenager and finally a young adult gives nuances through technology captures high-performance (combining the movements of an actor with computer generated imagery) and the efforts of Andy Serkis, the actor who brought Gollum to life in “The Lord of the Rings.” When Caesar frown, because every time you do, you do not see digital-only magic at its most expressive, you also see a plausible, the character angry, thinking.

Mr. Wyatt, a British film director whose credits include the independent film “The Escapist”, handles the scenes closely scale and successful action in size with capability. Neither he nor Mr. Franco wisely decided that the actor’s performance must be delivered without knowing poke fun at himself, a strategy that helps maintain the ridiculous story in full fall camp. Although the film grows stranger, more bizarre, and bleeds Science in Science Fiction, Mr. Franco kept a straight face, the sale of its relationship with Carlos and Caesar. Mr. Wyatt, meanwhile, alternates between large-scale action, special effects-aided – there’s a good time, when the leaves fall like rain, like chimpanzees to a suburban street tree canopy – and the cinema biggest special effect: the face, some digital.

If you want to enjoy some of the old school of the 1970-style paranoia, you could see an analogy between our world, where digital characters are fast catching up with their human counterparts, and the “Rise of the Planet of the Apes “which clears the way for a single revolution comes (and movies, no doubt, more). But that does not fit with Mr. Wyatt’s great not having to worry about the apocalypse. Despite a gloomy skewing primate center Dickens, where Caesar learns some truths in the heavy hands – and where you could swear that the diffuse inner edge of a protest that sounds remarkably like “Attica! Attica” – the film is largely perversely optimistic. It’s the end of the world as we know it, and the animals are well.