Monkey Man (2024)
Dev Patel’s directorial debut (which he also wrote), Monkey Man, is a whirlwind of action and vengeance, set against the backdrop of a teeming, unnamed Indian metropolis. We meet our protagonist, a nameless young man (also played by Patel), shrouded in mystery. By night, he dons a gorilla mask and throws fists in a brutal underground fight club, his body etched with cryptic scars. He travels the city’s underbelly during the day, his rage simmering. A chance encounter sets him on a collision course with the city’s corrupt elite, and the Monkey Man emerges, a symbol of rebellion unleashing a bloody reckoning.
The film is undeniably stylish. The fight choreography is visceral and balletic, drawing inspiration from Asian martial arts films. Patel throws himself into the action with impressive commitment, and the camera lingers on the raw brutality, making the violence feel impactful, if not gratuitous at times. The score throbs with energy, mirroring the frenetic pace of the action sequences.
However, Monkey Man stumbles when it attempts to balance its pulpy action with social commentary. The film weaves in themes of poverty, corruption, and forgotten communities, but these elements feel underdeveloped. Flashbacks to the protagonist’s past are heavy-handed, spoon-feeding emotional beats that could have been more effectively conveyed through Patel’s stoic yet expressive performance.
That performance is, undeniably, the film’s strongest element. Patel embodies the quiet intensity of a man consumed by vengeance. He’s ably supported by Sharlto Copley, who is chilling as the film’s villain, a man who oozes a sense of entitlement that makes him utterly loathsome.
The cinematography is serviceable, capturing the grit and grime of the city, but it lacks the visual flair that could have elevated the film’s aesthetic. The editing, while frenetic during the action sequences, feels sluggish at times in the expository scenes.
Monkey Man reminds me of films like John Wick with its balletic brutality but without the world-building or emotional depth. It’s a film that’s more interested in style than substance, but Patel’s charismatic performance and the sheer visceral thrill of the action sequences keep it watchable.
Ultimately, Monkey Man is a frustrating mix of potential and missed opportunities. It’s a film with a pulsing heart but a muddled mind. If you’re looking for a stylish action flick with a hint of social commentary, Monkey Man might scratch that itch. I enjoyed it, but it left me less than satisfied.