Despite the spurts of manic energy, the scenes often fall strangely flat. The makers, however, don’t show enough ingenuity in this character, which seems to have something fundamentally missing. The Monkey is first introduced as ‘trouble’. Once again, the hurried-up storytelling doesn’t bode well for the fun-filled film. There is an assistant Lin (Jolie Hoang-Rappaport), who acts as the moral compass of the film, but the scenes with her and the Monkey don’t always work despite brimming with potential. The lack of breathing space between scenes suffocates the narrative. The high-paced writing doesn’t let moments linger or emotions simmer. While the premise is simple and effective, the execution appears to cater more to the attention-deficit sections of the audience, with flashy colours and lights often taking centre stage. The perennial outcasting means that he turns into an immortality-seeking, crazy simian, who just wants to belong. If people won’t accept him, let the gods do. His moment under the sun arrives when he saves a villager from the wrath of the ‘demon of havoc’.Īfter slaying one demon, his quest for being appreciated grows larger, and with the support of a magic stick-of-sorts, he slays 99 more, travels between hell and heaven, and finally, takes on the mighty Buddha himself. Bereft of a hug, a smile or any expression of warmth from his cohabitants, he finds himself relegated to the periphery. The film, based on the 16th-century Chinese novel, Journey to the West, is the story of a monkey (Jimmy O Yang), who didn’t ascribe to the rules of this world, and is hence, treated as an outcast. One such setting forms the backdrop of Netflix’s latest animation film, The Monkey King, where all hell breaks loose after an ‘unruly’ monkey crawls out from under a rock. ![]() As tranquil as it sounds, it also makes for a world with no avenues to explore or share resources. Imagine a universe where everyone has a designated place, resides in a self-sufficient zone and all denizens adhere to rules.
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