The story is pretty simple. Our protagonist, Kid, played by Patel, is set on a path of revenge in India, against the upper class of society and the fascist police force who wronged him in the past.

Even though the plot felt a bit dragged out in parts of the first and second act, it is what Patel does as director throughout this story that is bold and unapologetic. Inspired by mythology about the Hindu monkey god Hanumān, the film is soaked with Patel’s passion to tell this story and deliver his vision.

Monkey Man encountered a hurricane of problems during its production, such as losing cameras, funding being pulled, and a lack of props needed to film sequences, all of which stimulated Patel to think creatively and to shoot on iPhones or a GoPro.

Even though it is clear which scenes were filmed with an iPhone or a GoPro – those parts work. They add to the general boldness and grittiness of the story, making all of the punches and fights feel even more impactful.

At the center of it all is the action. The bloody, exhilarating, and stylistically profound action, in which all of the canons of the genre are utilized, yet you never know what will be used as a weapon next.

I was amazed by the creativity and pure rage that Patel had put behind the action sequences and their choreography.

The film delivers something in its core that many films in recent years have lacked, its determination and passion.

The sheer fact of its existence on account of the development hell it went through is astonishing. Monkey Man might not push the boundaries of the genre, but it has everything to become an action cult classic.