Monkey Man movie 2024 review & film summary

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By robb the singh

Inspired by the tale of Hanuman, “Monkey Man” stars Patel as an unknown combatant referred to as ‘Kid’ in the credits. In the ring, he wears a gorilla mask and fights for money with a shady promoter played by Sharlto Copley. He gets beaten most nights of the week and paid more money if he bleeds.

monkey man

With his heavily scarred hands and laconic demeanor, the Kid may not appear to be the strongest man in the room, but Patel uses those wonderfully expressive eyes early on to portray drive. This young man has an aim. Nothing will stop him.

Through a heist, the child obtains a position at an exclusive club that draws the city’s most powerful figures, including political leaders and the head of police (Sikandar Kher), who destroys his life. Faces in the supporting cast begin to reappear, such as a beautiful club worker (Sobhita Dhulipala) and a reluctant ally who becomes entangled in the plot (Pitobash), but this is Patel’s film. His character appears in almost every scene, whether in the present or in flashback, as we follow his journey from average guy to murdering machine.

Finally, people who come to “Monkey Man” expecting nonstop action may be shocked by its structure. It’s essentially a lengthy set-up followed by a lengthy action sequence, which is then repeated. Aside from the battle scenes and extensive preparation, there are just two action sequences in “Monkey Man,” but they are well worth the wait. Patel has taken action templates from all over the world and filled them with an incredible violence that is rarely seen in films bearing the Hollywood studio label.

Bones crack, blood spurts, and you feel the connection in ways you haven’t felt in action in a long time—even the nice stuff has become more “highly-choreographed” like “John Wick” or “Mission: Impossible.” While the choreography remains excellent, there is a sweaty, unplanned element to it that adds to its energetic drive. It’s impossible to look away or predict what comes next. And credit goes to editors David Jancso and Tim Murrell, as well as cinematographer Sharone Meir, who keeps his camera loose and flowing, almost like another combatant in the room.

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