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Journey to the West: Conquering the Demons

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Watch Journey to the West: Conquering the Demons with a subscription on Hulu, rent on Fandango at Home, Prime Video, Apple TV, or buy on Fandango at Home, Prime Video, Apple TV.

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As sweet, silly, action-packed and ridiculous as director Steven Chow's best work, Journey to the West serves up dazzling action sequences while playing its disparate elements against each other with thrilling abandon.

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Audience reviews, cast & crew.

Stephen Chow

Chi-kin Kwok

Fist of the North Star

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Journey to the West: Conquering the Demons (2013)

Original title: 西游·降魔篇.

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In a world plagued by demons who cause great human suffering, young demon hunter Tang Sanzang must fight against monstrous demons, as well as contend with a beautiful demon hunting woman on his path to enlightenment.

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Journey to the West: Conquering the Demons is 4671 on the JustWatch Daily Streaming Charts today. The movie has moved up the charts by 1881 places since yesterday. In the United States, it is currently more popular than RiffTrax: R.O.T.O.R. but less popular than The Boy and the Beast.

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Film Review: ‘Journey to the West: Conquering the Demons’

By Richard Kuipers

Richard Kuipers

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Visuals are more dazzling than the storytelling in “ Journey to the West: Conquering the Demons.” A qualified return to form for Hong Kong hitmaker Stephen Chow (“Kung Fu Hustle) after mushy sci-fier “CJ7,” this mostly entertaining action-fantasy-comedy about a demon hunter soars when pyrotechnics take centerstage, but is less successful when the focus switches to words. Nevertheless, “Journey” has gone bananas since its Feb. 7 domestic release and looks certain to crack the $200 million mark and overtake “ Lost in Thailand ” as the highest grossing Chinese movie. Commercial potential beyond Chinese-speaking auds appears limited. North American release details are pending.

The pic is the umpteenth movie inspired by Wu Cheng-en’s classic 16th century novel “Journey to the West.” The source material about the arrival of Buddhism in China provided the basis for “A Chinese Odyssey Part One: Pandora’s Box” and “A Chinese Odyssey Part Two: Cinderella,” domestic hits starring Chow as the mischievous Monkey King .

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With Derek Kwok (“Gallants”) credited as associate director, “Journey” follows a simple pattern of elaborate set-pieces followed by brief pauses for reflection and explanation, not all of which are entirely compelling or convincing.

Popular on Variety

The first spectacular sequence shows young demon hunter Xuanzang (Wen Zhang) arriving in a fishing village during a gory, “Jaws”-like attack by the fearsome Water Demon. Chow’s knack for mixing suspense and slapstick is impressively displayed as Xuanzang leaps about rickety walkways and see-sawing bridges resembling the board game “Mouse Trap” before rescuing a baby just inches from becoming the creature’s next meal.

In one of several new ideas brought to the old tale by Chow, Kwok and six other credited writers, sensitive Xuanzang reads nursery rhymes to demons in the hope they will reject the dark side and join him as allies in the quest for spiritual enlightenment. His belief is that these beasties were once good-natured humans that suffered terrible injustice, and a lilting lullaby is all it takes to undo the damage. Watched by villagers as his technique restores the Water Demon to his previous human form as Sand Monk (Lee Sheung-ching), Xuanzang’s moment of glory is stolen by the sudden arrival of Duan ( Shu Qi , “If You Are the One”), a feisty femme demon hunter with radically different ideas on creature control and a flair for showbiz that the nerdy Xuanzang lacks.

Duan invites herself on Xuanzang’s missions to challenge and change other demons — pig K.L. Hog (Chen Bing-qiang) and Sun Wukong, also known as the Monkey King (Huang Bo), an especially tricky customer who’s served 500 years of solitary confinement in a remote cave on orders from Buddha himself. While sequences such as Duan using her “Infinite Flying Rings” to disintegrate Hog’s minions at his restaurant-cum slaughterhouse are filled with razzle-dazzle CGI and exciting 3D effects, talk-based segs between showpieces too often lack the nimble scripting and heartwarming charm that distinguishes Chow’s best work, like 2001’s “Shaolin Soccer.”

The main problem is Duan’s wildly enthusiastic attempts to woo Xuanzang despite his avowed devotion to “a greater love” than what she’s offering. Pushing the opposites-attract notion a bit too far, Duan’s repeated declarations of passion for Xuanzang never ring true, and it remains a mystery why she finds him so irresistible. An early sequence showing Duan and her sexy comrade (Chrissie Chau) conspiring to activate Xuanzang’s libido produces chuckles, but variations on the theme prove far less mirthful.

Although Chow does not appear in the movie, his acting style and screen persona are writ large on the main cast. Shu is dynamite as the all-action Duan, Huang amuses as the eccentric Monkey King, and Taiwanese singer Show Lo scores big laughs as Prince Important, a narcissistic rival demon hunter with an entourage of soon-to-be-superannuated female sidekicks.

Where the helmer’s touch works least is the central role of Xuanzang. Mainland thesp Wen does nothing particularly wrong, but his perf as the nervous greenhorn feels Chow-lite, and his narrowly written character is less lovable than he ought to be. It doesn’t help that Wen sports a ghastly “finger-in-the-light-socket” hairdo more fit for a costume party than a serious young seeker of spiritual fulfillment.

The pic is beautifully designed and photographed in predominantly rich earthy tones by lenser Choi Sung-fai (“ Flying Swords of Dragon Gate”). The orchestral score by regular Chow collaborator Raymond Wong adds plenty of punch to action sequences, but is slightly overused in the dramatic passages. The rest of the technical work is first class. Things conclude with a set-up for a sequel.

Journey to the West: Conquering the Demons

Sai yau: hong mor pin

(Hong Kong-China)

Reviewed at Hoyts Tea Tree Plaza Cinemas, Adelaide, March 4, 2013. Running time: 110 MIN.

An Edko Films (in Hong Kong), Huayi Brothers Media (in China) release of a Village Roadshow Pictures Asia, Chinavision Media Group, Bingo Movie Development, Edko Films production. (International sales: Bingo, Hong Kong.) Produced by Wang Zhongjun, Stephen Chow, Ellen R. Eliasoph, Han Sanping, Dong Ping, Bill Kong. Executive Producer, Chow.

Directed by Stephen Chow. Associate director, Derek Kwok. Screenplay, Chow, Kwok, Huo Xin, Wang Yun, Fung Chih-chiang, Lu Zheng-yu, Lee Sheung-ching, Ivy Kong. Camera (color, widescreen, HD, 3D), Choi Sung-fai; editor, Chan Chi-wai; music, Raymond Wong; production designer, Bruce Yu; art director, Eric Lam; costume designer, Lee Pik-kwan; sound (Dolby Atmos), Zhu Yanfeng; visual effects supervisor, Ken Law; visual effects, Macrograph, Different Digital Design; action choreographer, Ku Huen-chiu; line producer, Ivy Kong; associate producer, Alice Chow; assistant directors, Leung Kwok-fai, Keith Chan Cheung-kei, Ng Ka-pui; second unit camera, Gao Hu.

With: Shu Qi, Wen Zhang, Huang Bo, Show Lo, Lee Sheung-ching, Chen Bing-qiang, Cheng Si-han, Xing Yu, Lu Zheng-yu, Chiu Chi-ling, Yang Di, Chrissie Chau, Ge Hang-yu, Fung Ming-hun, Yeung Lun.

(Mandarin dialogue)

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Tv/streaming, collections, chaz's journal, great movies, contributors, journey to the west.

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By turns daffy and dazzling, awkward and artful, "Journey to the West" takes an ancient tale and gives it contemporary flair.

In adapting one of the Four Great Classical Novels of 16th-century Chinese literature, co-directors Stephen Chow and Derek Kwok have crafted a rollicking fantasy—a crazy fable that ultimately reaffirms the power of faith. Their giant martial-arts set pieces are nothing short of extraordinary; lively and lovely, they're filled with both great intricacy and innovation.

These scenes, which can be both wildly slapsticky and minutely graceful, provide the film with a winning, driving energy. And then when they're over, the characters unfortunately have to talk.

"Journey to the West" follows a goofy but sincere Buddhist monk named Xuan Zang ( Zhang Wen ), a young demon hunter who must vanquish a series of foes en route to his ultimate showdown with the notorious, shape-shifting Monkey King ( Bo Huang ). When we first see him, in the film's lengthy, tour-de-force opening sequence, he's helping a bunch of frightened villagers take down a giant, hungry fish that's leaping from the water and wreaking havoc. The comedy has a Mel Brooks-like sensibility about it that's appealing; it's playful in a deadly-serious situation. (Chow also directed the pleasingly cartoonish " Shaolin Soccer " and " Kung Fu Hustle .") But the choreography is undeniable: a breathtaking series of near misses and tricky balancing acts.

Xuan's preferred, absurd method of attack, per his mentor, is to tame the beasts by singing lullabies to them from a book called "300 Nursery Rhymes." The sweetness and innocence within Zhang's performance feels very Keanu Reeves circa "Bill & Ted's Excellent Adventure," complete with a mop of wild hair. This is actually a compliment.

The rival demon hunter he keeps running into, a catlike creature known as Miss Duan ( Qi Shu ), favors a more direct strategy: She takes them on through balletic physical battles with the help of a magical golden bracelet—"The Infinite Flying Ring"—which she can duplicate countless times. As she flings the circles through the air like lethal boomerangs, her targets explode in a burst of dust. It's an awesome sight to behold.

But then "Journey to the West" has an episodic structure that saps it of much of the momentum it gains during those thrilling set pieces. Xuan and Duan have one adventure, then another, than another. They meet one eccentric character, then another, then another. There's a tiger demon and a pig demon. There's a preening royal known as Prince Important (clearly a friend of President Business from " The Lego Movie ") and an elderly man known as the Almighty Foot, whose shriveled limb expands to an enormous size when the time comes for him to stomp on his enemies. (He might have the best catch phrase ever: "Today, you will die by my almighty foot!")

Along the way, Xuan and Duan trade some stilted and truly cringe-worthy dialogue—initially about their conflicting strategies, eventually about the half-hearted romance that develops between them. Out of nowhere, Duan finds herself falling hard for her unlikely companion and throwing herself at him in increasingly elaborate ways.

Maybe it's written that way on the page, but on the screen—especially in a film that benefits from such a strong and fearless female—the sudden need to have a man define her is a disheartening cliché. Also, some of the interactions between the male characters carry more than a whiff of homophobia which seems archaic. Again, maybe that's from the source material. But a film that clearly went out of its way to appeal to modern audiences perhaps could have gone just a tiny bit further.

Christy Lemire

Christy Lemire is a longtime film critic who has written for RogerEbert.com since 2013. Before that, she was the film critic for The Associated Press for nearly 15 years and co-hosted the public television series "Ebert Presents At the Movies" opposite Ignatiy Vishnevetsky, with Roger Ebert serving as managing editor. Read her answers to our Movie Love Questionnaire here .

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Film credits.

Journey to the West (2014)

Rated PG-13

110 minutes

Zhang Wen as Xuan Zang

Qi Shu as MIss Duan

Bo Huang as Monkey King

• Stephen Chow
• Derek Kwok Chi-Kin

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Journey to the west — conquering the demons: film review.

Stephen Chow is back in box-office storming form with this lucrative update of one of China's most beloved literary epics.

By Elizabeth Kerr

Elizabeth Kerr

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Combine rapidly increasing screen numbers, a voracious appetite for movies, a beloved literary legend and perhaps one of Hong Kong’s most popular actor-directors ever and you’ve got the recipe for a minor cinematic phenomenon. A lot would have to be dreadfully wrong for producer-writer-director Stephen Chow ’s entertaining comedy-fantasy Journey to the West: Conquering the Demons , to flop. And indeed, it has lived up to its potential, earning a massive $190 million in a few weeks in mainland China. Though the film was oddly beaten at home over the key Lunar New Year holiday weekend (by A Good Day to Die Hard of all things) this umpteenth iteration of the Chinese classic is likely to continue its successful streak beyond the Mainland and Hong Kong.

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JTTW is Chow’s first film in five years, the last being the fatuous and uncharacteristically schmaltzy CJ7 , and it boasts all the hallmarks of a Chow film: the slow development of running jokes and motifs, the wry asides, the everyman background characters that are often hilariously baffled or disbelieving on the viewer’s behalf, the tendency to allow scenes to run on organically. Though the film has more humanity and less of a sharp tongue than Chow has been noted for in the past, it’s undeniably his work (he doesn’t star in the film this time) and audiences and distributors receptive to surprise hits like King of Comedy and the groundbreaking Shaolin Soccer will want to get on the JTTW bandwagon.

The Bottom Line A welcome return to form by Hong Kong favorite Chow, even if it is without the director’s usual bite.

PHOTOS: 10 Highest-Grossing Movies of All Time at the China Box Office

The story kicks off with a stirring opening sequence involving a fake demon hunter, a fake water demon and a Taoist monk (the man that would be Tripitaka) Chen Xuanzang ( Wen Zhang ) dedicated to demon expulsion via love, kindness and a book of 300 nursery rhymes. Failing to get the job done and strung up for being a hoax, Xuanzang watches helplessly as the real water demon appears and wreaks havoc on a small village. The day is ultimately saved by real-deal Duan ( Shu Qi ) and her Infinity Flying Ring. Despondent at his failure, Xuanzang goes back to his master ( Cheng Sihan ) who tells him his lack of faith was the root of his demon banishing ineptitude. Cue the journey to betterment and wisdom.

Constructed in segments pivoting on encounters with the various demons Xuanzang meets — the opening fish demon, the Gao Family Inn and its Pig Demon proprietor ( Chen Bingqiang ), the closing Five Finger Mountain segment and a run-in with Sun Wukong, aka the Monkey King ( Huang Bo ) with short bridging bits — Journey to the West is more picaresque than pure narrative. But Chow and his army of writers manage to hold on to their themes and ideas through each set piece. The central conflict in the film grows from Xuanzang’s very Buddhist quest to honor the greater love for all things under the sun — demons included — and Duan’s more earthly quest for physical and romantic love. Her aggressive pursuit of him makes Xuanzang uneasy, and challenges his already fragile hold on his faith. The film has a dark undercurrent, entertaining and colorful as it is. Chow has no time for unwritten rules that say toddlers can’t die on screen; the Pig Demon’s lair is truly grotesque; and the Monkey King isn’t the impish charmer that has dominated popular culture. Laughs bump up against loss time and again, giving JTTW a more adult edge than may be expected.

STORY: Stephen Chow, China’s Huayi Brothers in Dispute Over ‘Journey to the West’ Profits

But Chow has a stellar cast that can soften the more gruesome elements without losing control of their purpose. Shu ( Three Times ) and Huang ( Crazy Stone ) are the standouts this time around, and help the bland Wen ( The Guillotines ) look stronger than he is. Huang is a proven comic performer but Shu surprises yet again with a nuanced turn that deftly balances the film’s emotional weight with its comic demands. The film’s 3D and CGI is adequate, and though it goes needlessly overboard in the closing segments, for the most part it avoids the effects-as-message trap. Journey to the West may not rank among Chow’s classics, but it’s a crowd-pleaser that also serves as a reminder of what the director can accomplish when he’s on his game.

Producers: Stephen Chow, Wang Zhonglei Director: Stephen Chow Cast: Wen Zhang, Shu Qi, Huang Bo, Show Luo, Cheng Sihan Screenwriters: Stephen Chow, Derek Kwok, Lola Huo, Wang Yun, Andew Fung, Lu Zhengyu, Ivy Kong, Lee Sheung-ching Executive producers: Wang Zhongjun, Dong Ping, Han Sanping, Ellen Eliasoph, Bill Kong Director of Photography: Johnny Choi Production Designer: Bruce Yu Music: Raymond Wong Costume Designer: Lee Pik-kwan Editor: Andy Chan

No rating, 109 minutes  

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Journey to the West: Conquering the Demons

A 2013 loose reimagination of the Chinese classic Journey to the West directed by Stephen Chow . It contains Chow's trademark mix of drama, kung fu, and slapstick comedy. Taking place before the eponymous journey west, the film shows a younger, less enlightened Tang Sanzang (played by Chinese actor Wen Zhang) as he tries to protect people from demons and learns much about the world. Along the way he meets other demon hunters, learns much about himself, and gets hit. A lot.

This Film Contains Examples Of:

• Achievements in Ignorance : Duan (played by Shu Qi ) can't read well. So in trying to put back Tang's book of nursery rhymes, she mixed up the words and accidentally created a sutra that summoned the Buddha to strike the Monkey King down.
• Action Girl : Duan is a very capable fighter, and something of a ladette.
• Action Prologue : The opening of the film shows Tang helping some villagers fight a fish demon.
• Action Survivor : Tang has no real useful skills, and tries to take demons on with nothing but a book of nursery rhymes. This causes Duan to fall for him, as she thinks it's incredibly brave.
• Adaptational Villainy : Unlike most other lighter adaptations of the original novel, the new interpretations of Sun Wukong, Zhu Bajie, and Sha Wujing are more or less portrayed as they appear in novel, in terms of the level of the atrocities committed. In Monkey's case, this is a subversion, as he's first introduced claiming that he's reformed, and now a good guy who wants to serve Buddha.
• And the Adventure Continues : The last shot is the beginning of the Journey to the West .
• Anguished Declaration of Love : Tang tells Duan he loves her, and always loved her as she lay dying from wounds she took trying to protect him .
• One of the demon hunters uses animal style kung fu. The animal whose style he's using appears behind him, though when he was first introduced it simply looked like it was a tiger fighting.
• The Monkey King at one point charges and looks like a giant feral monkey. While he can turn into one, that scene was merely done to represent his ferocity.
• Bald Mystic : After spending the entire movie with long hair, Tang has his hair ripped off by the Monkey King. It's only in this bald state that he reaches enlightenment and take a level in badass .
• Batman Gambit : How Sun Wukong tricked Sanzang into removing the actual seal that freed him, which is not far away from how the original character rely on his wits to overcome the odds. Initially, he deliberately put on airs of a suspicious behavior by asking Sanzang to remove some conspicuous object in his space. When Sanzang refused, he raged, which convinced Sanzang that had to be the seal that trapped Wukong for the past 500 years. After further drama and action mostly on Sanzang and Miss Duan's end, Wukong casually requested Sanzang to remove some innocuous looking lotus (The actual seal) so that he can have a better view of the night. Sanzang who by that time had let down his guard, did just that.
• Beat Them at Their Own Game : One demon-hunter attempts to kill the Monkey King by moving like an animal himself. It doesn't work.
• Bittersweet Ending : Miss Duan (and all the other hunters) are killed by Sun Wukong, but in the process, Tang achieves true enlightenment and binds the Monkey King to Buddha's will, starting his journey of redemption.
• Bond One-Liner : "It seems the Mighty Foot has stepped on a nail."
• Bullying a Dragon : When the Monkey King breaks free, the Demon-Hunters who were hunting KL Hog earlier all mock him for his height and his flamboyant dress. Safe to say, none of them survive their battle with him by the end of the fight.
• Canon Character All Along : The fish demon is actually Sha Wujing
• Celibate Hero : Tang categorically rejects Duan's advances, stating that he's looking for "greater love," rather than lesser, romantic love. He doesn't change his mind until it's too late.
• Chekhov's Gun : Duan's flying ring becomes Wukong's Restraining Bolt . Not to mention, the fish demon and KL Hog become Sandy and Piggy respectively .
• Death of a Child : The little girl from the opening is eaten by the fish demon.
• Defiant to the End : Even when Buddha casually presses a palm the size of a continent onto the Monkey King , Sun Wukong is too full of rage against him to back down.
• Did Not Get the Girl : Tang doesn't profess his love for Duan until she's dying. Since Tang doesn't have a girlfriend in the original story, this was bound to happen.
• Doomed by Canon : Miss Duan didn't show up in the original tale, which takes place after this movie. She dies in the climax.
• Double Standard: Abuse, Female on Male : Duan regularly beats and harasses Tang along the movie, but it's all Played for Laughs . When Tang raises his hand to Duan in an emotional moment, everyone freaks out.
• Double Standard Rape: Female on Male : Duan attempts to trick Tang into having sex with her by getting her people to pretend to be bandits forcing them to have sex. Once Tang learns of the deception, he's angry but ultimately dismisses the matter.
• Enlightenment Superpower : The Deus ex Machina that saves Tang is triggered by him gaining enlightenment (and a golden glow to boot).
• Expecting Someone Taller : The demon hunters expected the Monkey King to be taller. He still kills them all.
• Extremity Extremist : Almighty Foot solely attacks with a grossly oversized foot.
• The Farmer and the Viper : Sun Wukong repays Tang for unintentionally freeing him by ripping his hair out when he prays (having a personal grudge against the Buddha) and killing and vaporizing Sanzang.
• Faux Affably Evil : Sun Wukong. Befitting a trickster, of course. When trying to trick Tang, he was pretty helpful and nice, but the second he was freed he became a petty jerkass.
• Flying Weapon : Prince Important fights by flicking tiny swords, which then become full size and he can control.
• Improbable Weapon User : KL Hog's weapon of choice is a nine-pronged rake, as it is the in original story.
• Improbable Infant Survival : The village works together to save the infant in the opening sequence.
• King Kong Copy : When faced against a summoned Buddha bigger than the planet , the Monkey King takes on the form of a giant gorilla.
• Make Way for the New Villains : KL Hog is the antagonist for most of the movie. He's easily defeated by the Monkey King even while he's imprisoned, who becomes the final boss.
• Mama Bear : After her daughter is eaten by the fish demon , the woman from the opening grabs a spear and jumps in the river. She's clearly terrified, but demands the fish give her her daughter back. She just ends up its next meal.
• Meaningful Rename : Tang is given the Buddhist name Tripitaka at the end of the movie.
• Mind Hug : Under Tang's direction, instead of imprisoning him again, the Buddha brings the Monkey King to a place of absolute tranquility where he's so overwhelmed by peace and beauty that he loses the will to fight any further.

• No-Sell : After achieving True Enlightenment, Tang becomes completely immune to all of demonic Monkey King's attacks.
• Non-Indicative Title : While there is a trek in a westward direction, the movie takes place before Tripitaka's true journey to the west featured in the novel.
• Overly Long Gag : One of Prince Important's petal-throwers chastises him, "You should have told me sooner!" about twelve times in a row before the gag is dropped.
• Pintsized Powerhouse : The Monkey King is smaller than any of his opponents, but is unstoppable.
• Power of the God Hand : Tang Sanzang manages to defeat the Monkey King by summoning the Buddha himself (who is revealed to be larger than the planet, his hand the size of China itself) using the Buddha Sutra from his reassemble the Nursery Rhyme book, whereupon he crushes Sun Wukong beneath his palm.
• Prequel : Could be seen as one to Journey to the West , but the original literature does tell the stories of the pilgrims from the beginning, making this more of a re-telling of their origins instead.
• Quirky Miniboss Squad : A rare heroic example with the Hunters, all minor characters with their own trademark. They're all killed by the Monkey King.
• Rage Against the Heavens : The Monkey King is pissed at Buddha.
• Sealed Evil in a Can : Five-hundred years ago, Sun Wukong was imprisoned beneath Wuzhi Mountain by the Buddha for the chaos he waged in the Heavens and there he stayed. The seal prevents him from leaving the only way out, the lotus roots snagging him and whipping him if he ever tried, until he achieved enlightenment. After helping imprison KL Hog, he tricks Tang into removing the one lotus flower in the garden above the entrance (the real seal), freeing the Monkey King from his imprisonment.
• Sequel Hook : The Journey to the West begins!
• Shout-Out : One famous scene in the movie ( where Buddha becomes the size of a planet and crushes Sun Wukong with his Palm) is direct shout to Asura's Wrath , right down to nearly identical camera angles and character actions, to the point of getting quite a plagiarism controversy when it first premiered in China.
• Sunken Face : When demons are hit, their faces dent in the shape of the attack.
• Super-Scream : One of the Monkey King's most common attacks. Interestingly, the attacks aren't just concussive but also can incinerate the target.
• Superpower Lottery : The Monkey King is supremely strong, can incinerate things with a thought or shout, can shapeshift, and is Nigh-Invulnerable
• Temporary Love Interest : Like Stephen Chow's original movie adaptations of Journey to the West, Miss Duan dies at the end to complete Tang's character development into a monk.
• Too Important to Walk : Prince Important insists that he needs to be carried around because walking would make him the same as all the normal peasants.
• True Sight : Tang sees through the illusions at KL Hog's inn. The audience is first shown a glimpse of the illusion, then what Tang sees.
• Voluntary Shapeshifting : The Monkey King can turn into an ape-like form. Given the source material, he can probably turn into more.
• The Fish Demon was a man who was mistaken for a kidnapper while rescuing a child and transformed into a demon after the angry villagers killed him and threw his body into the water.
• KL Hog was murdered by his wife and her handsome lover and then changed into a pig demon after swearing to kill all women who lusted after handsome men.
• What Happened to the Mouse? : Duan's crew and sister vanish from the movie with no adequate explanation.
• Yandere : Duan, full stop. She stalks Tang constantly after their first meeting, tries on multiple occasions to blackmail him, and will not under any circumstances accept "no" for an answer.
• Zombie Advocate : Tang thinks demons can be rehabilitated and calmed through song.

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Sun wukong [asura's wrath].

One famous scene in Journey to the West: Conquering the Demons (where Buddha becomes the size of a planet and crushes Sun Wukong with his Palm) is direct shout to Asura's Wrath, right down to nearly identical camera angles and character actions, to the point of getting quite a plagiarism controversy when it first premiered in China.

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Journey To The West Conquering The Demons ( 2013) English Dubbed 1080p Bluray X 265 ... ( 816 X 1920 )

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• Graphic Violence
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• Rating: PG-13 (Partial Nudity|Fantasy Violence|Bloody Images|Some Sexual Content)
• Genre:  Adventure, Comedy, Fantasy
• Original Language: Chinese
• Director:   Stephen Chow ,  Chi-kin Kwok
• Producer:   Ivy Kong ,  Zhonglei Wang ,  Dajun Zhang
• Writer:   Stephen Chow ,  Chi-kin Kwok ,  Yun Wang ,  Xin Huo
• Release Date (Theaters):  Mar 7, 2014   Limited
• Release Date (Streaming):  May 27, 2014
• Box Office (Gross USA): $17.7K
• Runtime:  1h 50m
• Distributor:  Magnet Releasing

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Journey to the West: The Demons Strike Back

A monk and his three disciples continue on their journey to battle demons. A monk and his three disciples continue on their journey to battle demons. A monk and his three disciples continue on their journey to battle demons.

• Stephen Chow
• Si-Cheun Lee
• 26 User reviews
• 21 Critic reviews
• 59 Metascore
• 2 wins & 7 nominations

Top cast 25

• Monk Tang Sanzang

• The Monkey King, Sun Wukong
• (as Gengxin Lin)

• (as Jelly Lin)
• Pigsy (Zhu Ba Jie)

• Sandy (Sha Wujing)

• Spider (Qi Qin)
• (as Claudia Wang)

• Taoist exorcist
• (as Peng Da)
• Monk Tang's master (in Liliput dream)
• Exorcist's junior disciple

• Exorcist's senior disciple
• Midget (circus boss)
• Mother (haunted house)
• Fat lady (circus)

• All cast & crew
• Production, box office & more at IMDbPro

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Did you know

• Trivia There are two actors from the first film to play in this movie. Chen Si Hang as Nameless Master and Shu Qi as Miss Duan.
• Crazy credits There is post credit scene.
• Connections Follows Journey to the West: Conquering the Demons (2013)
• Soundtracks Good Kid Performed by Kris Wu and Jing Tan

User reviews 26

• OllieSuave-007
• Nov 3, 2017
• How long is Journey to the West: The Demons Strike Back? Powered by Alexa
• February 3, 2017 (United States)
• Official site (Japan)
• Official Weibo [CountryCode]
• Tây Du Ký: Mối Tình Ngoại Truyện 2
• Film Workshop
• Star Overseas
• Alibaba Pictures Group
• See more company credits at IMDbPro
• $63,300,000 (estimated)
• Feb 5, 2017
• $247,585,244

Technical specs

• Runtime 1 hour 49 minutes
• Dolby Atmos

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Into the West: A Journey Through Irish Myth and Modern Life

Into the West (1992) in an Irish movie that follows Tito and Ossie, two young brothers living in Dublin with their father, Papa Reilly. Papa Reilly, a former Irish Traveller, struggles with grief after his wife’s death. The boys’ grandfather brings them a magical white horse named Tír na nÓg. The horse quickly becomes their companion. However, authorities soon take Tír na nÓg away, deeming it unsuitable for the city.

Determined to reclaim their horse, the brothers embark on a journey across Ireland. Along the way, they reconnect with their Traveller heritage. The film blends Irish folklore with family, identity, and loss themes. Gabriel Byrne stars as Papa Reilly, delivering a powerful performance. The movie showcases the contrast between modern urban life and traditional Traveller culture. Into the West remains a beloved classic in Irish cinema. Its mix of adventure and fantasy appeals to both young and old audiences.

Into the West portraying Irish folklore

Into the West weaves Irish folklore into its narrative, primarily through the magical horse Tír na nÓg. The horse’s name refers to the mythical land of eternal youth in Irish legends, symbolizing a connection to the mystical and the past. Tír na nÓg embodies the spirit of freedom and the supernatural, guiding the brothers on their journey.

The film also touches on the Traveller community, whose lifestyle and traditions echo ancient nomadic practices in Irish culture. The grandfather’s character serves as a bridge between the old world of Irish myths and the modern reality the family faces. His gift of Tír na nÓg to the boys represents a return to their roots and a reconnection with the land and its stories. As the brothers travel west, the landscape becomes almost mythical, reflecting the enchanted, otherworldly qualities often found in folklore.

How the Irish Traveller culture is depicted

In the movie, Irish Traveller culture is depicted with a mix of realism and respect. The film highlights the nomadic lifestyle and strong family bonds central to Traveller identity. Papa Reilly, once a Traveller, struggles with his decision to settle in urban Dublin, reflecting the tension between traditional ways and modern life.

The Travellers are shown as deeply connected to nature and their heritage, with the horse Tír na nÓg symbolizing this bond. The grandfather’s character embodies the older generation’s wisdom and the cultural importance of storytelling. The film contrasts the freedom of the Traveller way of life with the constraints of city living, emphasizing a loss of identity.

The boys’ journey westward signifies a return to their roots and the reclaiming of their cultural identity. Through its portrayal, Into the West offers a glimpse into the challenges and beauty of Traveller life, while also addressing broader themes of displacement and belonging.

The cast & characters of Into The West

The cast of Into the West delivers memorable performances that bring the film’s characters to life. Gabriel Byrne plays Papa Reilly, the father of Tito and Ossie, who struggles with the demands of city life after the death of his wife. His portrayal of Papa Reilly captures the character’s deep sense of loss and his longing for a return to his Traveller roots. Byrne’s performance adds emotional depth to the film, reflecting the challenges faced by those caught between tradition and modernity.

The young brothers Tito and Ossie are portrayed by Rúaidhrí Conroy and Ciarán Fitzgerald , respectively. Tito, the elder brother, is resourceful and determined, while Ossie, the younger, is more innocent and curious. Together, they form a close-knit bond that drives the film’s adventure. Their quest to reclaim their magical horse, Tír na nÓg, serves as both a literal and symbolic journey back to their heritage. The actors’ chemistry and their ability to convey the emotional stakes make their characters relatable and engaging.

David Kelly plays the boys’ grandfather, who is pivotal in reconnecting the family with their Traveller heritage. His character serves as a bridge between the old ways and the new, providing wisdom and a connection to the past. Ellen Barkin appears as Kathleen, who supports the family through their journey. Her role, though secondary, contributes to the film’s exploration of family dynamics and cultural heritage. The ensemble cast’s performances together create a rich tapestry of relationships and cultural themes, central to the film’s impact.

Other notable Irish actors in the movie include Colm Meaney as Barreller, Brendan Gleeson as Inspector Bolger, Johnny Murphy as Tracker, John Kavanagh as Hartnett, and Jim Norton as Superintendant O’Mara.

The Ending of Into The West

After a journey filled with trials and self-discovery, Tito and Ossie, along with their magical horse Tír na nÓg, find a sense of resolution and connection to their heritage. The climax of the film sees the horse disappearing into the horizon, suggesting a return to the mythical land of eternal youth from which it came.

This ending signifies the fulfillment of the brothers’ journey, not just the physical quest to reclaim their horse but also a deeper, spiritual return to their roots and identity. The journey westward represents a return to the purity and simplicity of the natural world and the Traveller way of life, contrasting sharply with the urban environment they left behind.

Papa Reilly’s ultimate acceptance of his past and his role in his children’s lives reflects a reconciliation with his own identity and heritage. The film closes on a hopeful note, emphasizing themes of renewal, the enduring power of myth, and the importance of cultural roots. The ending encapsulates the film’s exploration of the intersection between tradition and modernity, suggesting that true connection and peace come from embracing one’s heritage and the myths that shape it.

Last updated August 10, 2024 .

About the Author

Dave Donnelly

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