Film Review: ‘Monster Hunt’

"Monster Hunt"
Courtesy of Edko Films

The toon creatures are the real stars in this zippy, technically accomplished entertainment, which has become the highest-grossing Chinese film of all time.

In “Monster Hunt,” the protagonists are greenish ogres with mushy hearts — not surprisingly, since this jolly live-action/animated Chinese period fantasy is helmed by Raman Hui, the Hong Kong-born animation supervisor who was involved with the genesis of the “Shrek” franchise. Although this yarn about a humans-vs.-monsters struggle to capture a monster princeling will seem too gooey and elementary for fans of more brain-teasing family fare like “Inside Out,” its technical wizardry and zippy, Hollywood-influenced storytelling smarts dwarf any brand of tyke-skewing entertainment China has ever come up with. Small wonder that domestic B.O. has been monstrous: To date, it’s earned more than $217 million, making it the biggest Chinese hit ever.

One of the most costly undertakings by Hong Kong’s Edko Films (“Crouching Tiger, Hidden Dragon,” “Lust, Caution”), the production hit a major snag last year when Taiwanese male lead Kai Ko (“You Are the Apple of My Eye,” the “Tiny Times” series) was arrested for smoking marijuana and banned from screens and showbiz activities by mainland authorities. Ko was replaced by Jing Boran (“Love and Lost,” “Rise of the Legend”), with reshoots allegedly doubling the initial $40 million budget. Still, the film’s grosses have more than made up for the setback, proving that toon monsters are the real stars here anyway.

What makes “Monster Hunt” so tyke-friendly is its easily digestible story arc, refreshingly devoid of Confucian morality, educational historical background or nationalistic grandstanding — in short, everything that makes most mainland children’s films such a yawn. Stylistically, the film blends Western demon-slaying elements, Japanese yokai folklore and even a distant echo of “Who Framed Roger Rabbit” into a fanciful Chinese setting, beefing it with up robust martial-arts action with an eye toward holding the attention of adult viewers.

In a mythic kingdom, mortals and monsters who once fought each other now stay put in their separate domains. Their uneasy truce is disrupted when a coup in the monster land forces its pregnant queen to go on the run with her two loyal but inept retainers, Zhugao and his rotund wife, Fat Ying. Foreseeing that pandemonium will spill over to the humans’ realm, monster-hunt bureau chief Ge (Wallace Chung) puts up a handsome bounty for the unborn heir.

Evading the pursuit of a ferocious rebel general (a cuddly variation of a T-rex) and long-out-of-work monster hunters, Zhugao and Fat Ying take refuge in Yongning Village, disguising themselves as humans (played by Eric Tsang and Sandra Ng, respectively). Unexpectedly, the famished Monster Queen develops a craving for village sentinel Tianyin (Jing Boran), even though he looks nothing like a gastronomic delight. Although his dotty grandma (Elaine Jin) keeps reminding him he’s descended from an illustrious line of monster hunters, Tianyin is a dork whose only ambition is to cook and sew, and he proves utterly defenseless.

To the monsters’ chagrin, snack time is interrupted by Xiaolan (Bai Baihe), a low-ranking monster hunter who’s after the bounty, but she is in turn trounced by veteran Luo Gang (Jiang Wu, brother of helmer-actor Jiang Wen). In the ensuing chase, Tianyin becomes an accidental carrier of the monster fetus, his “pregnancy” giving rise to off-the-wall gender-bending gags. The yarn picks up with the “virgin birth” of the monster prince, whose baby-babble spurs his surrogate dad to name him “Wuba.” Resembling a squishy radish crossed with a cuttlefish, Wuba will charm any tot infatuated with bouncy rubber balls, while a certain oral trick of his may even tickle adults.

Alas, money-grubbing Xiaolan is impervious to Wuba’s charms and sells him to a pawn-shop owner (Tang Wei, making almost no impression), who instantly turns him in at a five-star eatery called Heaven Restaurant. In a kitchen scene sizzling with Rabelaisian revelry, monsters dexterously dodge a siege of woks, steamers and sashimi knives; Yao Chen, playing a master chef, comedienne and “Weibo queen,” demonstrates the sophistication and barbarity of Chinese cuisine with a balletic act as high-spirited as it is spine-chilling. The climactic banquet builds to a cracking showdown that not only unleashes the protags’ inner reserves, but offers the comforting notion that neither monsters nor humans are as fiendish as they seem to be. The ending sprinkles in plenty of hints for a sequel — highly foreseeable, given the pic’s phenomenal success.

Jing, who has so far been a sturdy foil for showier leads like Eddie Peng in “Rise of the Legend” or Huang Xiaoming in “The Guillotines,” trudges along with little charisma in the earlier scenes, but perks up as soon as Bai arrives on the scene. With her pixie-like charm, Bai is the spark that fuels their larky courtship. The narrative is at times bogged down by celebrity comedians and A-list stars jostling for attention in what are essentailly glorified cameo appearances; the most gratuitous of these are Yan Ni and Bao Jianfeng, causing a pointless hubbub as an infertile couple.

The film is supposedly inspired by “Classic of Mountains and Seas” (“Shan Hai Jing”), a 206 B.C. Chinese tome in which the monsters look like blowfish that have swallowed dinosaurs. But Hui’s artistic input no doubt helped inspire a creature-design aesthetic that’s recognizably Asian, yet spunkier and less parochial than most mainland animated films, with their slavish reproductions of classical Chinese templates. Thanks to high-caliber visual effects — supervised by Jason Snell (the “Pirates of the Caribbean” series, “Harry Potter and the Half-Blood Prince”), among others — the interaction between the animated and live-action characters is seamless, as are the monsters’ dramatic transformations, especially when beanpole-like Zhugao and plump Fat Ying turn into a stumpy man and a slim femme, respectively.

Yohei Taneda’s production design blends ethereal inkbrush landscapes with period sets that range from mundane to spectacular. The tussles between humans are choreographed by Ku Huen-chiu with snappy, cartoonish timing, but remain bound by Hong Kong high-wire stunt conventions. Leon Ko’s score is jam-packed with pop tunes that work a spell as kiddie singalong, but may drive foreign viewers up the wall with their sappiness. The film is being released in 2D except in China, where a 3D conversion is also available.

Film Review: 'Monster Hunt'

Reviewed at IFC Palace, Hong Kong, July 11, 2015. Running time: 116 MIN. (Original title: "Zhuo yao ji")

Production

(Hong Kong-China) An Edko Films (in Hong Kong)/Edko (Beijing) Distribution Co., China Film Group, Tianjin Lianrui Pictures Co. (in China) release of a Edko Films, Dream Sky Pictures, Co., BDI Films, Shenzhen Tencent Video Culture Communications, Heyi Pictures, Beijing Union Pictures, Zhejiang Star River Artiste Management Co., San Le Films, Zhejiang Films & TV (Group) Co., Edko (Beijing) Films presentation of a Champion Star Pictures production. (International sales: Edko Films, Hong Kong.) Produced by Bill Kong, Yee Chung-man, Doris Tse. Executive producers, Bill Kong, Wang Tongyuan, Sun Zhonghuai, Allen Zhu. Co-producers, Lv Jianchu, Hao Lee, Cai Yuan, Wang Jinghua,  Dong Zijian.

Crew

Directed by Raman Hui. Screenplay, Hui, Alan Yuen, based on a story by Yuen. Camera (color, widescreen, HD), Anthony Pun; editor, Cheung Ka-fai; music, Leon Ko; music supervisor, Ko; production designer, Yohei Taneda; art director, Lee Kin-wai; set decorator, Wang Jihong; costume designer, Yee Chung-man, Yu Lulu; sound (Dolby Atmos), Kinson Tsang, Randy Thom (monsters); re-recording mixer, Tsang, George Lee Yiu-keung; special effects, Fok Kam-tong, To Kwok-keung; visual effects supervisors, Jason Snell, Tang Bingbing, Charles Lee, Yann Doray, Li Ming, Hu Jiangtao, Young Lim; visual effects, Base FX, TWR Visual Effects, Post Production Office Group, Original Force, Trooper Visual Effects; action director, Ku Huen-chiu, Yiu Chun-hin; line producer, Fan Kim-Hung; associate producers, Zhang Han, Jessica Chen, Chin Man-kei, Gu Shunkun, Wang Jun, Chang Bin, Angela Xiong; assistant director, Ho You-leung, Huang Hao; casting, Liu Sasa, Song Yuheng.

With

Jing Boran, Bai Baihe, Jiang Wu, Elaine Jin, Wallace Chung, Eric Tsang, Sandra Ng, Tang Wei, Yao Chen, Yan Ni, Bao Jianfeng, Wang Yuexin, Guo Xiaodong, Zhou Pinrui. (Monster language, Mandarin dialogue)

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  1. april says:

    “Western demon-slaying elements” cartoon>games, etc. “Japanese yokai folklore” <–…are you fucking kidding me. You know that "yokai" is literally taken from "yaoguai" which is a Chinese concept right?

    From wikipedia: First century: there is a book from what is now China titled 循史伝 with the statement "the spectre (yokai) was in the imperial court for a long time. The king asked Tui for the reason. He answered that there was great anxiety and he gave a recommendation to empty the imperial room" (久之 宮中数有妖恠(妖怪) 王以問遂 遂以為有大憂 宮室将空), thus using "妖恠" to mean "phenomenon that surpasses human knowledge."

  2. ajaj says:

    “……..refreshingly devoid of Confucian morality, educational historical background or nationalistic grandstanding ”

    That’s common and acceptable in many historical dramas from s.Korea, but invites criticism if the films are from China.

    • Maggie Lee says:

      Yokai (a Japanese term widely used in international cinema writing, or “yaoguai,” a Putonghua romanization almost never used or heard of in the same circles) are words describing goblins or other animistic spirits. Such spirits have existed in folklore around the world, throughout history, and for those who believe it, may even be real. They are not exclusively a “Chinese concept.” I know the Chinese invented paper and gun-powder or whatever but they didn’t INVENT the supernatural.

    • Maggie Lee says:

      Please read and quote my entire sentence: I was referring to children’s films and animations from China. I don’t know why it’s relevant to make a comparison with Korean historical dramas. For the record, Korean children’s films are usually pretty fun and entertaining, occasionally unexpectedly dark, but seldom didactic and nationalistic in the way mainland equivalents tend to be.

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