Between the time I saw the first of these movies and finished the last of them, the movie industry was dead, saved, and probably died again with each week being a coin toss as to where the story will go next. Perhaps it’s best that I didn’t have time to get to them right away, and in doing so avoided the box office drama that surrounded each new release. I certainly don’t have anything interesting to add to that conversation as I’m just here to watch the movies, but I’m sure that’s why you’re here as well, so let’s not waste any more time and dive right in!

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Monkey Man

Monkey Man is by Universal Pictures

Directed by Dev Patel

In the roughest part of a city of Yatana, you will find several less than savory characters; some in the rich cocaine dens run by the upper crust of society and others in the dingy arenas where fighters pulverize each other for cash. One such fighter is a man known as Kid (Dev Patel) who fights as the Monkey Man so that he can buy the tools he needs to exact vengeance on the rich and powerful who destroyed his childhood village and murdered his mother. Nothing is as simple as it seems, however, as the corruption that led to this slaughter goes to the highest peaks of India’s government, and none of them are going to stand for this forest brat tearing through their carefully laid plans to run the country. Will our hero bring down the system as an act of divine justice, or will his single-minded quest for blood only lead him to his own grave?

Dev Patel has definitely earned his Thespian stripes in recent years with a series of indie dramas and the bizarre art piece that was The Green Knight, and while it does feel like something of a swerve for his directorial debut to be a John Wick knock-off, he does fill it with enough stylistic flair to find a niche separate from its influences. It’s a movie that’s less about its plot and more about the details, with the setting playing as much a role in this movie as any of its characters. Some of it will perhaps be lost on Western audiences who aren’t familiar with India’s political landscape or economic situation, and I’m counting myself among those who are ignorant of these topics, but Patel fills the scenes with enough life and interesting side characters that it’s easy enough to slip into the world with Kid serving as our guide throughout it. Still, if there’s any area where the movie feels underwhelming, it’s with a few of the characters who are well drawn to fit the archetype or class of person that they need to represent, but don’t have much going on beyond that. The big bad at the end of the movie is almost a throwaway character; not for being unimportant to the overall plot as he’s the one pulling the strings and is most emblematic of the criticism Patel is leveraging against India’s government, but because the movie is simply not as concerned with his actions as they are with the secondary villain who gets far more screen time and is directly involved with the tragedy that sent Kid on his path of vengeance. The film makes a game attempt at melding social commentary with a classic revenge story, but there’s an obvious tension between the two that the film never fully resolves. Thankfully, the action is able to pick up the slack in the film’s narrative, and Patel has thrown himself into the role with a fiery passion. Physical roles like this can be quite taxing on an actor, especially one who’s not used to these kinds of roles, so the fact that he manages to look convincing throughout is impressive to say the least. I suppose my final thoughts on this is that it’s about as good as any number of action films that have tried to recapture the magic of John Wick; including the John Wick sequels. In some respects, this is a bit disappointing as Patel is clearly shooting for this to be an elevation of the genre given its themes and social commentary, but then again, how many first time directors can pull off action this good, both in front of and behind the camera?

Continue reading “Cinema Dispatch: Monkey Man, The Fall Guy, and I Saw the TV Glow” →