Moonage Daydream: Journey to the West: The Demons Strike Back movie review
The Spring Festival (aka Lunar New Year) holiday just passed in China and as a result some of the biggest films of the year have been released in the past two weeks. Jackie Chan’s newest, Kung Fu Yoga, which reteams him with director Stanley Tong (Rumble In The Bronx; Police Story 3 & 4) for the first time in many years, opened during Spring Festival, as did comedian Wang Baoqiang’s directorial debut, Buddies in India, and the two films earned US$44 million and US$38.5 respectively in the opening weekend of the holiday. But the box office champ from that period, Journey to the West: The Demons Strike Back (aka JTTW2) dwarfed those figures, bringing in $85 million and setting a record in China for a local film’s first day grosses by earning $52.5 million. Directed by Tsui Hark from a script by Stephen Chow, JTTW2 also opened with a day-and-date release in North America.
Although its take in the US was much smaller, grossing only $605,049 in it first week of release, JTTW2 averaged a respectable $9,000 per screen, which put it in the top five in that ranking (I Am Not Your Negro was number one). So Stephen Chow and Tsui Hark still have some pull in the Chinese American market, a niche that is still being mined by distributors such as China Lion, Wellgo, and Magnum Films, which handled JTTW2.
Some reviewers have panned the film but as evidenced by its record-breaking box office the Chinese filmgoing populace disagreed, and I also quite enjoyed its funhouse ride. The sequel to Stephen Chow’s 2013 blockbuster Journey to the West: Conquering the Demons, this one follows the further adventures of Monk Tang as he travels with Sun Wukong, aka the Monkey King, and his bestial buddies Pigsy and Sandy. A crazed romp through the CGI-enhanced mind of Tsui Hark, JTTW2 works just fine if you free yourself of any expectations and let the film’s madness sweep over you.
For example, Director Tsui throws in a dash of Indiaphilia in the film’s brief intro set in a tiny city on the subcontinent as well as snippets of what sounds like a remix of the soundtrack to his 1993 classic Green Snake on the audio track. He also confounds expectations by including several white people as extras in the imaginary Indian city as well as in the kingdom of Biqiu, a clever mindtwister that exemplifies Tsui’s sideways-thinking moviemaking.
Whereas the last installment in the rival Journey To The West franchise, The Monkey King, was cheaply designed and instantly forgettable, in JTTW2 the art direction by Yoshihito Akatsuka is gorgeous and goes on for miles. Among the jaw-dropping images cramming the film frame are huge floating paper-mache creatures, a man-fish shapeshifter who spends a large part of the film in his pescatorean manifestation, and elaborate, multi-textured set designs that recall the best of Hieronymus Bosch. Female characters take on a particularly hallucinogenic appearance, with elaborate coifs, fancy eyebrows, and visages that morph from the beautiful to the grotesque in a flash as when several femme fatales suddenly become huge arachnid demons.
I really liked Lin Gengxin’s take on the Monkey King, who he plays with a gangsta swagger instead of the customary simian tics. Ex-EXO member Kris Wu is fine as Monk Tang but his characterization is missing the guileless sweetness that Wen Zhang brought to the role in the previous film. The ne plus ultra evil female villain (played by Yao Chen) harkens back to Carina Lau’s formidable take as the Empress in Hark’s Detective Dee series but without Lau’s majestic imperiousness. Jelly Lin (who debuted in Stephen Chow’s 2016 blockbuster The Mermaid) as Monk Tang’s love interest Felicity is pretty and charming, but when juxtaposed with Shu Qi’s much more feisty character from the last film she seems as filmy and slight as her gauzy costume.
Tsui does a great job using IMAX 3D to immerse the viewer in the film’s universe. I’m the kind of person who went to see Inception twice just to see the stereoscopic teardrops floating through space, so I’m a sucker for the overloaded visual experience that JTTW2 delivers in spades. But if you’re hoping for character development, a coherent narrative, or emotionally connected interpersonal relationships you’re probably shopping at the wrong store. Still, it’s a lot more fun that most Hollywood CGI fests due to Tsui Hark’s unique and vivid cinematic imagination. If you’re looking for a couple hours of maniacal visual stimulation leavened with Stephen Chow’s twisted sense of humor then JTTW2 is your movie.
Entry filed under: chinese movies, hong kong movies, journey to the west: the demons strike back, stephen chow sing-chi, tsui hark. Tags: chinese films, hong kong films, hong kong movies, journey to the west: the demons strike back, stephen chow sing-chi.