The story starts with Xuanzang, Wukong, the pig demon Bajie (Xiao Shenyang) and gloriously blue sand demon Wujing (Him Law) chugging up a river, still en route to reclaiming the sacred Buddhist scrolls when they encounter a River God and are tossed into a hidden colony. In a hilariously endless tumble, Xuanzang spies the Queen (Zhao Liying) of the innovatively named Womanland of Western Liang, and it’s love at first sight. Problem is, the women of Womanland have been raised to believe men are poisonous, and the Queen’s preceptor and protector (Hong Kong veteran Gigi Leung) immediately orders Xuanzang and his crew executed. The Queen is suffering terminal lovesickness however, and helps the four escape. That’s when the adventure starts, one filled with surprise pregnancies, unsavory induced miscarriages (!), a quest to flee across the Sea of Suffering and an eerily perceptive CGI reindeer.The Monkey King 3 2018 Movie Download.
Make no mistake, The Monkey King 3 is bonkers, but in a charming, delirious sort of way, with energy to spare and another strong performance by Kwok that’s far more nuanced than it needs to be. There are more than a few moments where dodgy CG reveals itself, and in late-2000s fashion, the action is so kinetic as to be nearly unfathomable. But the film does have its moments: Xuanzang and the Queen’s journey across the misty, eerie sea; the possibility the residents of Womanland turning to stone where they stand; and the climactic sequence where the angry River God nearly lays waste to Womanland boast some stellar visuals. Not so much the precocious child of a scrap of scroll (seriously, it’s a piece of paper as a kindergarten brat). Shaun Smith’s makeup effects are strong, and it would have been nice to see them, and Cho Hwa Sung’s bright, popping production design, clearly rather than have them muddled by dark 3D glasses.
The Monkey King 3 didn’t need to be 3D, and it could have trimmed its romance — or refocused it. Once it becomes clear Xuanzang et al’s escape from Womanland hinges on love as the key to locating the gate, the film settles into long stretches of insipid romantic philosophizing.