Serving as both a tribute to the thrill of iconic action cinema and a lamentation of the mimeograph that the genre has become, Dev Patel’s directorial debut “Monkey Man” is intensely fiery and ambitious.

“Monkey Man” is loosely based on the myth of Hanuman and follows the main character, Kid, portrayed by Patel. The film is centered around a young man who works his way out of an underground fighting ring into a menacing circle of Mumbai elite. He then sets out on a violent mission of vengeance after finding himself face-to-face with the catalysts of his own childhood trauma.

Kid’s campaign for revenge in the film pulls back the curtain on the growing corruption within India’s ruling class. It draws direct parallels between fascist violence and the brutality that he is subjected to for profit during his nightly fights. 

The dichotomy between the two environments morphs into a mirror — a single entity that thrives off of suffering and repression. The explicitness of these parallels sets “Monkey Man” apart from the typical political indifference found within the action-film genre.

The urgent political messaging of “Monkey Man” drastically intensifies the stakes of Kid’s vengeful journey, as his personal trauma exists with the context of generations of organized state violence, universalizing the tragedies of his past and amplifying the film’s relevance. The necessity of the narrative is potent without being preachy, presenting with patience while maintaining a serious tone. 

Patel recognizes that violence in film is inherently political, explicitly taking advantage of this fact to uplift the stories of those who have often been left behind by the homogeneity and apathy characteristic of the genre. 

In addition to the film’s strong political stance, “Monkey Man” also stands out because of how it embeds itself within a rich cultural landscape. Indian spiritual and political dynamics are integral to the gritty mosaic of the film’s narrative. 

These aspects of Indian culture are packaged neatly enough to be digestible to an unfamiliarized Western audience whilst seemingly never watering down the cultural integrity of the film’s influences.

In his intricate leading performance, Patel imbues Kid with an intense sense of ambition, born from his desire for retribution which is clearly depicted through the percussively choreographed fight scenes. His fiery and animated persona is layered with intensity, and he provides a fresh interpretation of the well-worn territory of the vengeful action protagonist.

Additionally, referentiality of “Monkey Man” to titans of the genre is always respectful and never derivative, expanding upon a diverse catalog of action influences. However, while Patel can both craft and perform a dynamic fight sequence, the ferocity and rawness of the film’s action does not always successfully translate to scenes focused on dialogue.

While the visceral intensity of Kid’s emotional backstory gives the film a functional driving force, the purposefulness of “Monkey Man”’s storytelling feels messy and fragmented. At times, the film cannot control its own explosiveness, which ends up leading to awkward and jarring transitions between scenes. 

None of these storytelling faults are particularly distracting, but the lack of cohesion between scenes in “Monkey Man” often breaks the narrative’s explosive tension. The scattered nature conveys the aggression behind Patel’s character, but also creates an atonal patchwork of emotion and action, adding an unwanted friction to the building intensity of the film. 

Beyond the simple structural pitfalls typical of a debut feature, “Monkey Man” is still a  worthwhile action endeavor, due to a captivating leading performance, which is driven by an undeniable passion for the craft of both filmmaking and acting. 

While “Monkey Man”’s dissonance in momentum renders it murky at times, Patel’s intentions remain crystal clear. The film is based on a love for action films, and Patel manipulates this characteristic grit to dismantle the conventions of the genre.

Though “Monkey Man” is shaky in structure, even Patel’s compromising choices are commendable. None of the film’s beats are lazy or derivative, and the film is an excellent showcase of Patel’s range and passion, making it a promising first directorial venture.