The Golden Monk Review

The Golden Monk Review



Centuries ago the set had been banished from paradise for their forbidden love. And have since been reincarnated countless occasions without recognizing each other. Connected by an old buddy himself reincarnated as a monk-cum-were-tiger (Legislation Kar-Ying), both team up to remove large rampaging demons. However the yield of an old enemy out of Butong's past yells the deadly world into unprecedented threat.

By Hong Kong humor hit-maker from the Eighties to reigning schlockmeister of the Nineties into blockbusting mega-producer throughout the Noughties, great old Wong Jing only keeps hammering away. In the launching set-piece with Butong unable to subdue a giant bass demon rampaging through the town, to the tragicomic love between dorky monk and swaggering tomboy, to the magnificent CGI monster mash finale, Wong proudly proffers a series of secondhand products.

With manic performances and rapid-fire gags improbable to interpret to get a non-Chinese crowd The Golden Monk are a job to see were it not for a small number of advantages. On the 1 hand Wong Jing certainly spared no cost. Luxurious digital effects sit besides lovely costumes and magnificent places, saturated fittingly in lush golden colors. It's pacy and filled up with spectacle. Adding a parade of Ray Harryhausen-style creature struggles sure to pleasure monster lovers (such as a malevolent cyclops and striking reddish versus gold dragon made from a thousand monks in the climax). However Wong's effort to ape the heterosexual love Stephen Chow himself modeled to the movies of the mentor Jeff Lau falters because of a lack of sincerity, ability and shameless padding. At one stage the storyline stops dead only so characters can observe a kind of'instant replay' of previous events.

Lead celebrity Zheng Kai is a lively comic existence enlivening some differently sluggish scenes. Regrettably his chemistry using co-star Kitty Zhang Yuqi isn't there. The latter, yet another transplant in Stephen Chow's stock business, initially featured in their own sci-fi household humor CJ7 (2008), is particularly unsatisfactory. Strangely listless at a function clearly modeled on Shu Qi's much more nuanced and fiery heroine from Journey to the West. That is before she's discharged in strangely grisly fashion. Rather like the equally incongruous minute when a trio of pneumatic vixens-cum-bestial-she-demons feast on crying captive kids it's symptomatic of a schizophrenic tone Wong pulled better decades ahead. The successful jokes incorporate a montage depicting the prospects' different reincarnations through the years which have parodies of famous folk stories such as Butterfly Lovers and Mulan, and a sequence in which Butong and Wubai inexplicably morph into different Marvel superheroes. Watch out too for a groan-inducing reference to the Angry Birds sport and animated film. Yet neither the movie's love attempts to take care of the philosophical and spiritual topics fundamental to The Mad Monk and Journey to the West gel together with Wong's relentlessly lowbrow strategy.

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