Oh yes, if it isn't obvious by now, there are hardly any epic battle scenes to speak of in fact, there are just two - one in the middle with two big scorpions, and the other right at the end with the bitter River God threatening to drown the entire Womanland. But perhaps its most audacious choice is to attempt a genre switch in this third chapter that turns what used to be an action fantasy into a fantasy romance. And for yet another, it depicts an unrequited lesbian romance between a mortal and an androgynous spirit that at its most audacious has a scene with Gigi Leung and Lin Chi-ling locking lips. For another, it handles the subject of abortion with a certain cavalier, and some would say careless attitude - after his companions accidentally drink from a fertility spring known as the Motherhood River, Wukong approaches a cross-dressing hermit in the Miscarriage Cave to obtain its tears to terminate the unwanted pregnancies.
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For one, its notion of a female-only land seen against China's male chauvinistic society is progressive to say the least, especially given its people's extremely dim and fatalistic view of the male gender. To his credit, Cheang does undertake some brave moves for a Mainland-centric film. Besides testing the mettle of their relationship, the voyage will also clarify Xuanzang's choice between the love of one (wo)man or the love of all sentient beings although his decision should be obvious to most viewers, since it will take a lot of gumption for this movie to attempt a completely revisionist take on Wu Cheng'en's classic, and you can probably guess that it isn't nearly that bold.
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It's also not difficult to guess that Xuanzang and the Queen will eventually discover that secret by their love for each other - a love that will quite literally see them 'through the sun and rain', as the couple are banished from the kingdom and forced to endure both elements in a wooden boat out at sea. Alas their attempt to escape is thwarted by an invisible, magical net around Womanland, though it's not difficult to guess that the key to penetrating the spell is none other than true love itself. But perhaps more crucially, Xuanzang and his companions - Wukong, the pig demon Bajie (Xiao Shenyang), and the blue-skinned sand demon Wujing (Him Lo) - have to first escape execution directed by the kingdom's Empress Dowager-like Madam Perceptor (Gigi Leung), who is adamant that men are the worst poison to their kind. Stumbling upon a kingdom populated only by women after an encounter with an unfriendly River God (revealed later on to be a vengeful god played by Lin Chi-ling), Xuanzang falls in love with its Queen (Zhao Liying), thereby presenting him with an apparent conundrum whether to forsake his religious calling to love all mankind. Whereas most, if not all, 'Monkey King' films have played on the dynamic between Wukong and his master Xuanzang, Cheang and his writer Wen Ning have placed the focus this time on Xuanzang (Feng Shaofeng) alone. Not surprisingly, Kwok has agreed to reprise his role in this third chapter, although this time round he's been reduced to no more than a supporting act. The first chapter, which boasted a spirited turn by Donnie Yen as the titular Wukong who defied Chow Yun Fat's Jade Emperor, was nonetheless a huge disappointment because of its stilted storytelling and laughable CGI but the sequel, which saw Aaron Kwok take over the golden staff (pun intended) with a more low-key but also more nuanced performance, was a marked improvement that benefited generously from Gong Li's devilish turn as the White Bone Demon.
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Though Stephen Chow's 'Journey to the West' series has been the more buzzed-about one in the last few years, director Soi Cheang has been studiously building up his own 'Monkey King' franchise.