Monkey Man

Dev Patel smashes it in his action-packed directorial debut

Dev Patel is a knock out in his directorial debut, Monkey Man.

After years of making money via an underground fighting ring, an anonymous man (Dev Patel) finagles his way into a job as a dishware in one of the most exclusive clubs in the city. A playground for the elite, the club offers everything from drugs to trafficked women to their clients.

While everyone else is trying to move up the ladder and gain more money and influence with their wealthy patrons, the mystery man has other plans. The people who frequent the club were responsible for the destruction of his village and the death of his mother. He’s spent decades battling in underground fighting rings wearing a monkey mask as a tribute to the god Hanuman.

Now, he’s perfectly positioned to exact revenge.

Originally bought by Netflix to stream to their increasing Indian marketplace, the platform grew concerned this bloody action film would turn off its audiences. The movie was rescued from development hell by horror auteur Jordan Peele, who recognized a hit when he saw one. He snapped Monkey Man up from Netflix and released it under his similarly simian-themed Monkey Paw production company.

We should all send Mr. Peele a Thank You note.

Essentially a gonzo action film along the lines of John Wick or Atomic Blonde, Monkey Man is a stellar directorial debut from Patel, who also co-wrote the script. The movie takes on the corruption in the Indian government, poverty, and trans rights, all while packing a wallop with its fighting scenes. Unlike the CGI-laden fights of say… Prime’s Road House, Monkey Man treats its fights like a ballet. Lovely long wide shots allow you to appreciate the visceral quality of hand-to-hand combat and the impressive stuntwork that goes into making such a film.

Cinematographer Sharone Meir teams beautifully with Patel’s vision of a frenetic action film. Meir does indulge in some shaky cam during the fight scenes, so take a Dramamine if you’re sensitive to that, but he also allows room for visual poetry once the punching stops. There are several arresting shots that play with light and movement in a way that elevates Monkey Man from a beat-‘em-up action flick to something truly magnificent. Meir’s use of color and movement reminded this reviewer of the gritty beauty found in Nicolas Winding Refn’s early works. I’d be surprised if the image of Patel silhouetted by red lights didn’t show up in film students’ dorm rooms in the next few years.

And though Patel has proven he’s got a talent for storytelling, it’s in front of the camera where he really shines. His nameless lead is drowning in rage but must maintain his cover until the time is right. It’s like watching the counter on a bomb slowly tick down to ignition. When he finally explodes, it’s something to behold. Patel also, importantly doesn’t take himself too seriously. There’s plenty of action-based humor, and comic relief to help keep the protagonist, and the audience, from feeling too lost in the bleakness surrounding them.

That might be the true talent of Patel and Monkey Man — knowing exactly what to give its audience and when. We get action, we get an interesting band of trans people squatting in a temple, and we get background on our hero’s life before fighting, but what we never get is too much of anything. The film doesn’t drag because each of these revelations is punctuated with some stellar action sequences, pulse-pounding enough to keep the energy up even if the film has shown us something heavy. The result is a heady, heart-pounding experience.

My only picky criticism of the film might just be its ending which feels abrupt. I would have enjoyed some more time with these characters and in this world. But a good film with an abrupt ending is better than a meandering film that ends four times before the credits roll.

Verdict: Dev Patel proves he’s got the chops in front of and behind the camera in this excellent action flick.

Monkey Man is rated R and is available in theaters.