Watchlist: Dev Patel's “Monkey Man” confronts faith and revenge ...

Written by Alex Armbruster. Graphic by Anna Porter.

This article contains spoilers.

“Skins” (2007-2013) and “Slumdog Millionaire” (2008) actor, Dev Patel, makes his directorial debut in action thriller, “Monkey Man.” Patel stars as protagonist, Kid, who leads a double life fighting in an underground boxing ring while waiting tables at Kings, a brothel for depraved elites. Kid’s not there for the tips, however. He’s got a vendetta against Kings’s customers, the high rollers and fascist police force that destroyed his home and his family.

From the start, the film’s frenetic energy sucks you. In a sequence reminiscent of “Ocean’s Eleven,” locals pass along the wallet of Kings’s manager, Queenie, in a series of rapid handheld shots, all leading to Kid. Whether Kid’s fetching wallets or fighting cronies, each action sequence leaves little breathing room for the viewer. But when breaks do come, they’re brief and, at some points, hilarious. Take the window scene during the brothel chase, for instance. Kid runs full force at a window, intending to crash through and plummet to the street below, but instead, he ricochets back off the glass, dazed yet unharmed. This moment, like many others in “Monkey Man,” is both a nod to action flicks like “John Wick” and a clever subversion of their tropes.

Action, of course, would not be possible without stunt coordinators–and, oh, does “Monkey Man” kill it in that department. Each fight sequence is a carefully choreographed dance, every environment a potential weapon. Kid may smash one guy’s head into a microwave, then turn to slam another guy’s face with a water pitcher, and just keep going–his jabs and stabs fluid, ferocious and unceasing.

In my favorite fight scene of the film, cinematography, costuming and sound marry with stunts, as Kid confronts Kings cronies in a barroom brawl. Kid prepares to face the men alone, when his friends, the Hijra, appear in dazzling dresses and face masks of the Hindu goddess, Kali. This group of third-gender heroes are a vision of vicious beauty as they spin and slash at the henchmen, giving Kid the opening he needs to chase down his real enemy.

The bar fight, like the entirety of “Monkey Man,” contains nuanced religious parallels. The Hijra’s slaughter of Kings henchmen showcases them as both warriors and caretakers, who once nursed Kid back to health and, now, support him with lethal force. This duality of feminine and masculine, protector and destroyer, relates directly to Hindu deities, Kali and Shiva. As one of the most marginalized communities of “Monkey Man,” the Hijra exemplify the film’s underdog narrative and the power of taking oppressors to task.

I’d be remiss to leave out the religious parallels between Kid and Hindu god, Hanuman, which serve as the foundation of the film. In flashbacks of Kid’s childhood, his mother recites the story of half-monkey, half-human god, Hanuman. When police raid Kid’s village, he burns his hands while attempting to save his mother, symbolic of Hanuman mistakenly consuming the sun. Kid later embraces Hanuman as his fight club persona, donning a monkey mask, and when he nearly dies midway through the film, the Hijra nurse him back to a stronger version of himself, much like Hanuman was empowered by the gods. Physically and spiritually reborn, Kid takes down Kings brothel, police chief, Rana and warped, religious guru, Baba Shakti.

Of course, “Monkey Man” has its flaws, including unresolved plot lines with Kid’s dog and his love interest, Sita, a sex worker he meets while working at Kings. The true villain, Baba Shakti (or “Father Power”) isn’t established until late into the film, making his character a lukewarm antagonist compared to the slimy elites and corrupt police officers Kid confronts earlier on. I’m still muddled by the film’s religiopolitical undertones, which I’m sure would pack a greater punch if they were fully fleshed out. However, these narrative hiccups are overshadowed by the film’s stellar performances, insane visuals and mood-enhancing score, which have earned it a Certified Fresh rating on Rotten Tomatoes.

Okay, I should probably wrap up this review, so here are some final thoughts on my favorite “Monkey Man” moments. The yellow and red backlighting during the bar and elevator scenes are killer and only a portion of the film’s outstanding production design. The drumming heard while Kid boxes at the temple that then bleeds over to his fight club victory—chef’s kiss. I think the teeth-knife scene will forever be seared in my brain, and the gorgeous shot of the dangling mirrors before Kid and Rana face off—obsessed. Oh, and how could I not mention Kid ripping off his tank top (like, I definitely wasn’t screaming along with the Hijra).

There’s so much that I haven’t delved into, like the treatment of women and female-identifying characters throughout the film, commentary on politics and India’s caste system and more. So, my friends, you’ll simply have to see “Monkey Man” for yourself and thank me later.