Storyline
Kid is an unnamed young man who makes a pitiful living as a gorilla mask wearer in an underground fight club where he is brutally beat up by more well-known fighters every night in exchange for cash. Kid finds a means to sneak into the city's evil elite's enclave after years of holding his anger inside. His unexplainably scarred hands unleash an explosive campaign of retribution to get revenge on the individuals who stole everything from him as his childhood anguish boils over.
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Story
A young guy who chooses to remain anonymous launches a campaign of vengeance against the dishonest officials who killed his mother and carry on their systematic victimization of the weak and impoverished. According to the tale, just before filming his first feature film, Monkey Man, director/co-writer/star Dev Patel (co-writing with Paul Angunawela and John Collee) had locations and financial support taken away (because of the epidemic). As a result, the crew had to film using go-pros and cell phones. In slightly related news, during filming the first significant one-on-one battle sequence, he shattered his hand. It goes without saying that the shoot was difficult, and it shows.
There are scenes with unbelievably unfocused cinematography (sometimes with mouths and heads cut off) that detract from the already broad narrative strokes of vengeance through the perspective of Indian mythology, politics, and religion. One gets the impression that Dev Patel and the filmmaking team are figuring out how to adjust on the fly with varying degrees of success. And then occasionally this dynamic, chaotic whirling energy works wonders for certain heart-pounding action sequences. The group is far more confident in the third act, delivering heart-pounding tracking shots of spectacular carnage.
Known as The Kid, Monkey Man likewise has poor pace, which is regrettably not confined to a protracted, drawn-out setup. The man works at an underground fighting promotion and is obviously on a revenge mission. He uses the money from the fights to fund a complex plan in which he performs odd jobs for a criminal organization in order to establish credibility and move up the ranks. He begins as a low-level cook and works his way up to a shady party suite where a corrupt police chief (Sikandar Kher) is in charge. Kher was involved in a land grab in the hamlet some years prior, which led to the death of The Kid's mother (Adithi Kalkunte).
This undoubtedly gives the impression that Monkey Man is an intensely intimate action movie that enjoys suspense as much as physical violence to the face, but in reality, it's a startlingly cold picture that finds it difficult to engage viewers with its more realistic, human aspects. This movie alludes to John Wick, but it doesn't seem to understand why or how the series took off and became so successful—arguably getting better with each new release. That implies that since filmmakers are now openly referencing that series, hecklers who criticize authors for continually drawing comparisons between it and the current wave of action pictures should be silenced.
Even though The Kid already knows what happened, his main motivation for seeking revenge isn't revealed until a late flashback. The movie loses momentum and is frequently annoying structurally. Exciting concepts are at work, like how The Kid's quest unfolds as a mythical monkey hero's journey and a symbol of working-class rebellion. At one point, a transgender community prepared for action supports The Kid in his struggle, pointing out that there have been attacks on them from unwelcoming parties.
The film also boasts a unique visual aesthetic, featuring an entirely original training montage deeply rooted in Indian culture in addition to chic neon lighting during action scenes that occasionally feature a medley of unusual music selections and a stirring, poignant score by Jed Kurzel.
Once more, Monkey Man knows exactly how to unleash this intense rage in the last, thrilling half hour. Despite some amazing violence, the first two thirds of the film are sometimes a jumbled blur. Maybe this is intentional, as the ending is the only section with lengthy takes and an extended shot of hand-to-hand fighting.
Though it's impossible to predict what Monkey Man would have looked and felt like if it had been made with the resources that were first promised, it also doesn't take much reasoning to realize that Jordan Peele saw the film's potential and saved it from a dismal Netflix-only, no-advertising, streaming destiny. Stretchers and flashes of badassry peppered throughout the gritty film leave one curious about what Dev Patel could accomplish with greater resources and expertise.
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