Monkey Man

Monkey Man

Director ~ Dev Patel

Writers ~ Dev Patel, Paul Angunawela, John Collee

2024, United States-Canada-Singapore-India

Stars ~ Dev Patel, Sharlto Copley, Pitobash

 

‘Slumdog Wick’, where the earnestness of themes such as political and religious corruption blend with action movie excess-bonkersness. Quite deftly too, so it never feels as unintentionally humorous as many action thrillers do when trying to be serious. Although it does rely on Comedy Small Guy and a supercharged tuktuk for yucks. The plotting and planning of the first half are perhaps more captivating than the more fist-first approach of the second half, but it never slacks as it hurtles through its intent and genre tropes.

This is a genre that tends towards providing retaliation fantasies for the underdog, and ‘Monkey Man’ is absolutely on the side of the dispossessed and downtrodden. Patel’s “Kid”, although aligned with the legend of Hanuman, seems only to find identity in his vengeance, almost a cypher but more a street-kid robbed of his character. For intent: social commentary propping up the crunch of action – and also addresses head-on and shrugs off the ‘John Wick’ stuff. And the film is upfront in its disgust and targeting issues of political corruption, “untouchables” and caste divisions. It even has room for trans issues with its portrayal of hijras, India’s transgender and intersex community, and referencing the god Ardhanarishvara. This community is both a safe space and, ultimately, closet kick-ass warriors, perhaps indicative of how the film’s thoughtfulness gives way to outrageous action.  The film is almost soulful on the side, in that these themes seem deeply felt and not just garnish for motivation.

It’s Dev Patel’s baby (writing, acting, starring) and he makes a sympathetic and appealing Vengeance With No Name with a hurt vulnerability rather than Reeves’ suited-slacker cool or Cruise’s All American Smile sheen. Even beefed up, there’s a puppy-dog vulnerability to Patel that gives him far more appeal than written to his part. It’s swift, colourful, looks so zeitgeisty and accomplished that it is somewhat baffling that Jordan Peele apparently had to step in to ensure a cinema release. Perhaps it doesn’t pack the emotional wallop it aims for, buried under a barrage of over-the-top genre punches, and it is nothing new, but it has plenty of vibe.

Fights? The bathroom brawl and the elevator scrap for me.

 

 

Saltburn

Saltburn

Writer & Director ~ Emerald Fennell

Writer ~ Emerald Fennell

2023, US-UK

Stars ~ Barry Keoghan, Jacob Elordi, Archie Madekwe, Rosamind Pike, Richard E. Grant

 

You know, really, by now, Barry Keoghan should come with a "Do Not Feed the Animal" warning around his neck.

Expectations heightened by Emerald Ferrell’s previous ‘Promising Young Woman’, this is not as sharp or as troubling, but it’s slicker and it is fun. The debut pop vibrancy is replaced by a sophomoric confidence and certainty. It helps that you have Barry Keogh, Jacob Elordi, Richard E. Grant and Rosamind Pike to bring out the best of it.

Keogh is a slippery performer and practically unreadable and always compelling. As I went in blind, I spent a lot of time initially wondering if he was an innocent out of his depth or whether he would turn at any moment. He’s thoroughly engrossing as he goes from nerd to seducer. Of course, part of this elusiveness is deliberate as the film holds back some of its cards. Pike and Grant are excellent at bringing a subtle instability (Pike – a stand-out) and sudden menace (Grant) to a broad if not caricatured playing. Elordi exudes a warmth beneath his privilege, and his growing shock at realising his summer friend (I won’t say plaything because that implies far more malevolence and cold-heartedness than Elordi’s performance airs) isn’t quite the charity case he initially thought.

Saltburn itself is impressive as stately homes are prone to be, but if the film’s targets are obvious there’s plenty of flair. Fennel knows how to keep the interest. The film takes it time setting up, and then features a number of scenes that are gleefully shocking (the audience I was with were noisily taken aback at times (the bath and the grave especially) with strangers acknowledging their shock to each other afterwards as a kind of post-film therapy). Fennel provides a definite female gaze to the camera, with Keogh positively game.

It's all very arch, pretty and playful, maybe a touch shallow, but with a decent sprinkling of shocks, debauchery and show-stoppers when the cards are on the table and predictability sets in.