Monkey Man Review

Dev Patel’s Monkey Man bursts onto the action scene with a fierce blend of physical intensity, layered storytelling, and cultural critique. A project years in the making, the film showcases Patel not only as a skilled actor but also as a visionary director unafraid to take bold risks. While it may stumble at times under the weight of its ambitions, Monkey Man is a visceral, electrifying debut that firmly establishes Patel as a force behind the camera.

At its core, Monkey Man tells the story of ‘Kid’ (played by Patel), a boxer with a haunted past who finds himself battling both personal demons and the oppressive forces of a corrupt government. Inspired by the Hindu legend of Hanuman, the half-monkey, half-human deity, the film takes a mythological framework and updates it with modern social and political relevance. The result is a film that oscillates between being a deeply personal story of vengeance and a sharp critique of systemic inequities in India, from caste oppression to religious nationalism.

Patel’s passion for the material is evident in every frame. The action sequences are the film’s crown jewels, boasting some of the most dynamic, brutal, and inventive choreography in recent memory. Weapons are improvised mid-fight, and the physicality of each scene feels raw and authentic, thanks to Patel’s commitment to capturing the chaos and stakes of combat. The final act, in particular, is a breathtaking showcase of Patel’s ability to orchestrate thrilling, high-stakes set pieces that are both visually stunning and emotionally charged.

However, the film’s score is a mixed bag. Composed by Jed Kurzel, the music often overemphasizes the drama of the action sequences, detracting from their organic intensity. While some pieces are undeniably powerful, others feel heavy-handed, as if insisting on the importance of scenes that already speak for themselves. On the flip side, the use of licensed tracks injects the film with energy and cultural specificity, complementing the vibrant world Patel creates.

Where Monkey Man truly excels is in its nuanced portrayal of marginalized communities, particularly India’s hijra (third-gender) population. In a groundbreaking move, Patel positions this often-stigmatized group as pivotal to the story, not merely as symbolic figures but as fully fleshed-out characters. Their role as protectors and allies adds depth to the narrative while challenging entrenched societal prejudices. The hijras’ climactic appearance — decked out in elaborate costumes and masks — is a standout moment, both visually arresting and thematically rich.

The screenplay, co-written by Patel, weaves themes of mythology, revenge, and social justice into its narrative tapestry. While the ambition is commendable, the script occasionally falters under the weight of its own scope. Flashbacks, though emotionally resonant, are overused, sometimes disrupting the film’s pacing. Similarly, the character of Chaturanga — the antagonist — feels underdeveloped, lacking the nuance that makes a truly memorable villain. On the other hand, Patel’s portrayal of ‘Kid’ is deeply compelling. His expressive eyes and physical performance convey a spectrum of emotions, from anguish to determination, without the need for excessive dialogue.

Visually, Monkey Man is a triumph. Sharone Meir’s cinematography captures the vibrancy and chaos of urban India while imbuing key moments with a mythic grandeur. Whether it’s the gritty underground boxing rings or the neon-lit streets of the city, the film’s aesthetic is meticulously crafted. Patel’s directorial choices — from the fluidity of the camera work to the intricate staging of action — demonstrate a keen understanding of visual storytelling.

Despite its many strengths, Monkey Man is not without its flaws. The script’s attempts to juggle mythology, politics, and personal drama sometimes lead to tonal inconsistencies. The female lead, portrayed by Sobhita Dhulipala, is a prime example of wasted potential. Her character, a sex worker entangled in the villain’s schemes, is underutilized and could have been given greater narrative weight. While Dhulipala’s performance is commendable, her limited screen time leaves much to be desired.

Monkey Man is an audacious debut that showcases Dev Patel’s multifaceted talent. It’s a film that dares to blend the intimate with the epic, the personal with the political. While it may not reinvent the action genre, it reinvigorates it with a sense of urgency and cultural specificity that is often lacking. Patel’s passion project is more than just an action movie; it’s a statement, a celebration of resilience, and a call to confront the systems that perpetuate inequality. If Monkey Man is any indication, Patel’s directorial career is one to watch closely. This is a film that leaves its audience exhilarated, contemplative, and hungry for more.