IRON MONKEY 2 (2020) short review

p2612185825It is not unusual to see four or five-hour long epics being shot in one go and split in two films, but a lean two-hour actioner being split in two barely feature-length films? That’s a novel idea indeed. And so two weeks after the VOD release of Yue Song’s 62-minute long Iron Monkey, came the 63-minute long Iron Monkey 2. It obviously picks up exactly where the first film abruptly left off: post-apocalyptic warrior Thunder (Yue Song) has rebelled against the leader (Chen Zhihui) of the cult-like warrior clan that adopted him at a young age, and fled with captive women who were destined for a grisly fate. The rest of the clan has been in hot pursuit, and Thunder already dispatched quite a few of them in the first film. Now, the rest of his former comrades are still hellbent on killing him for his treason, and a confrontation with the leader is inevitable. After the action-packed first film, this is a slightly more introspective affair, though whatever introspection happens, isn’t exactly profound. There’s a wealth of melodramatic flashbacks to Thunder’s upbringing, and quite a bit of speechifying about things like honor and loyalty. The fighting is still abundant, but less hard-hitting than in the first film: the two climactic fights are hampered by a montage-like editing that goes for emotional power rather than kinetic entertainment – unwise, as emotion is absent anyway. And Yue Song’s dead-serious sense of vanity grows wearisome: when he’s not doing push-ups, brooding, or beating up dozens of opponents, he’s in the rain screaming at the heavens (exactly like in Super Bodyguard). The release of Iron Monkey 2 was even accompanied a documentary about him and his life philosophy, directed by a member of his family and humbly titled Warrior. **

IRON MONKEY (2020) review

p2607367095Yue Song is a unique performer in China’s – and indeed the world’s – filmic landscape. A one-man army who writes, produces, directs, choreographs, plays the lead role and does his own stunts in his films, never taking a single role in anybody else’s project. As a result, his output has been sparse, with each of his films a passion project to which he devotes his mind and sacrifices his body with Jackie Chan-like abandon. After the relatively little-seen King of the Streets in 2012, his following film, Super Bodyguard (released as Iron Protector in the US), caused a bit more of a stir four years later with its entertaining mix of unironic, vanity-filled silliness and excellent, bone-crunching fights. Now it’s been another four years and Yue is back with Iron Monkey (no relation to the Yuen Woo Ping classic), released straight to VOD at a time when Chinese theaters haven’t re-opened yet.

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