On the other hand, no effort is made to deny the allure of the elegantly evil White Bone Spirit (Gong Li) who lives in an ice palace with a trio of handmaidens, makes flowers wilt at her touch and yearns for immortality as a demon. There's an authoritarian subtext here if you choose to look for it: Wukong is the archetypal rebellious subject who must be brought into line and discouraged from using his individual judgment. Like much in the film, his performance seems geared above all to pre-teen viewers, who may well identify with Wukong's vengeful yet playful nature: striking intimidating poses one moment, giggling and blowing raspberries the next. Sous la dynastie Tang, le prtre Xuanzang est envoy vers l'ouest pour rcuprer les critures saintes du Bouddhisme.
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Taking over the role played by Donnie Yen in the previous series instalment, Kwok makes the most of his background as a dancer, though whether you find his limp-wristed capering funny is a matter of taste. Journey to the West Taking place 500 years after the Havoc in Heaven, the Tang Priest is appointed by Buddha to go to the West to fetch the sacred scripture. If the storytelling lacks a certain finesse, there's no shortage of spectacle: dragons and other digitally generated monsters, hordes of sword-wielding skeletons, and uncanny transformations that sometimes confront the heroes with doubles of themselves. The follow up to the international fantasy blockbuster, fast forwards 500 year to a new realm where the Monkey King (Aaron Kwok) vows to protect the innocent from a demon seeking immortality.
The journey format gives the filmmakers a lot of leeway, allowing for frequent lavish fight sequences set against fantastical backdrops (the choreography is by Hong Kong legend Sammo Hung).
The Monkey King 2 takes viewers on a new journey.
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