It’s really easy to compare Monkey Man to certain action films released in the past decade. Those films display heart-stopping brutal fights and action set-pieces but still manage to make something of their own. Dev Patel’s directorial debut seeks to uplift the “one-man army” genre while introducing audiences unfamiliar with Indian culture. We get a movie that’s an art-house John Wick/Raid combo that communicates human rights while showcasing Patel’s talent as a director and an eye for making action genuinely cinematic.
Monkey Man, directed by and starring Patel, is a story of one man seeking revenge for the death of his mother and the destruction of his childhood village. Written by Patel alongside Paul Angunawela and John Collee, Monkey Man goes more profound than the film’s simple premise. There are areas covered in the movie that turn spiritual and philosophical, such as finding purpose while on the path for blood. Kid (Patel) is an underground boxer/punching bag who devises a plan to hunt down the people responsible for his childhood trauma. Along the way, he encounters individuals who will cause him to find perspective in his mission and readjust what he seeks.
Patel has been primarily known as an actor for the majority of his career, yet he decided to try his hand at writing with Angunawela and Collee. Their combined talents give the movie heart and meaning within the script.
The screenplay for Monkey Man covers trauma as a jumping-off point for the film, but it also touches on being an underdog, those who are voiceless, and marginalized groups. It showcases these people within the Indian community who hold value and purpose in a world where they are seen as outsiders or unacceptable to close-minded folks. The film doesn’t do this in a heavy-handed way but uses some pacing or quieter moments to convey the message. Kid realizes his purpose later in the movie at a point where it’s needed. The writing expertly lays the breadcrumbs to that awareness, making the eventual meeting of action and midpoint perspective neatly fit.
Although the script alone should pique the interest of moviegoers looking for something meaningful in their cinema diet, the direction and action are really the selling point of Monkey Man.
The movie’s trailer offers something unique regarding the action set-pieces, and the film does not disappoint. Patel uses his untapped talent to bring me into close quarters with the combat. Consequently, it also allows me to feel every punch, kick, and weapon while making it a spectacle. These combinations are only elevated throughout the movie because of the master cinematography by Sharone Meir. I was all in and fully invested with the vibrant neon yet tame color, lighting, and fluid but carefully choreographed camera flow with the action.
I became utterly immersed, and then some as the Monkey Man’s intense fighting only improved.
The movie has several stunning scenes, with Patel becoming more creative with the action to keep the film engaging, and he does it like a seasoned director. A case in point is a chase scene that features our hero escaping. The camera moves well with the action and transitions into a seamless, stunning POV that left me wanting more. Moments like these amount to an excellent climatic third-act action set-piece that is memorable and promotes Patel as a director destined for greatness.
Monkey Man is well worth the admission and should be seen on the big screen. The plunge into the gritty underworld this film holds fully engulfed me. I couldn’t get enough of what Patel was serving from his ability as a director and writer. He takes time to make scenes count while making slight homages to classic action movies – there’s a badass Enter the Dragon in the third act. The film will definitely be regarded as a classic over time, and hopefully, this is the first step in Patel’s long history as a director. Monkey Man delivers and earns its place as one of the top action films in the past few years.