Cosmetics and effects rivaling, if not trumping, The Shape of Water, a star cast, precedence and notoriety for its previous installments, and a story adapted from a famous ancient Chinese novel deeply imbedded in Chinese national identity (as well as renditions throughout East Asia), were all foundational pieces to set this film in good standing. While depicting the Journey to The West may be nationalist in itself, I find it incredibly unfortunate that this film took opportunity to inject current political propaganda, particularly in favor of the implications of limited children policies. What more, I concur with Elizabeth Kerr that this film "felt like a missed opportunity" to depict its primarily female cast as active-not-reactive. This may be in part due to the source content of the relevant chapters of Journey to the West, yet license had been routinely taken throughout each film in the franchise and there is no good reason to miss the mark here given the nature of the setting and plot. Traditional gender normative are further enforced by the villainization of androgyny and an unfavorable transgender depiction, which was a notable change from the source material. There is also a villainization of Western convention seen through the cosmetic portrayals of our main female protagonist and (for lack of better word) antagonist using the film's contextually-current beauty standards of China and America ("current" for the latter being a bit loosely defined from an American context as it leans a bit more early 2000s, yet still made iconic by American icons such as Barbie with blue eyeshadow, pink lips and blush high on the cheekbones, unnaturally lined eyebrows, and thick winged eyeliner), respectively. This is highly unfortunate given the franchise's seeming success and popularity overseas. Forgiving this work as a result of its context, particularly in how domestic businesses are obligated to be to some extent puppeteer by Chinese official policy in order to exist, the film is enjoyable as a campy (wire effects and costumes like the Power Rangers but CGI like a chef's kiss) and interesting installment to the series that uniquely focuses on love as opposed to strictly fantasy martial arts. I am weary about the injection of propaganda in future installments, but I wait with baited breath nonetheless to give an anticipated 4th installment, rumored to be in the works since 2018 (which I hope the pandemic has not entirely derailed), a chance. I hold on to hope that we may take a step back and focus more on what was done right with the second movie which lacked in the third to bring into the fourth- particularly an equal strength and depth of character for all participants, regardless of sex or gender.
Review of The Monkey King 3
