“Everybody dies. Some of us peacefully in our sleep, and some of us… horribly. And that’s life.”
Neon’s latest cinematic venture, The Monkey, is a captivating blend of horror and comedy, masterfully adapted and directed by Osgood Perkins. This film marks a significant highlight in Perkins’ impressive year, showcasing his unique storytelling abilities. He is frequently held to a higher standard, a testament to his lineage as the son of the iconic Anthony Perkins, who is celebrated for his chilling portrayal of Norman Bates in Alfred Hitchcock’s renowned Psycho films.
With such a formidable heritage, Perkins continues to carve out his niche in the film industry, earning the attention and respect of both audiences and critics alike.
Osgood’s previous film, Longlegs, also distributed by Neon, was released last summer and received mostly positive reviews. I enjoyed it so much that I included it in my Top 10 horror movies of 2024. Longlegs is a dark, chilling, crime-focused horror thriller that delivers chilling imagery you’ll be seeing in the dark corners of your room in the middle of the night. Not to mention, there were incredible performances by Maika Monroe and Nicolas Cage.
The Monkey marks a significant departure from Longlegs, highlighting Osgood’s versatility and appreciation for the wide range of horror. This film reveals his playful side, blending dark comedy with splatterpunk gore. While it may not be as shocking or gruesome as, let’s say, the Terrifier franchise, it still offers plenty for gore enthusiasts. Some deaths in the film are so disgusting they are hard to forget! Whereas many Terrifier deaths are torturous and practical, the ones in The Monkey are more comical with a touch of pretty realistic CGI.
Osgood has expertly assembled an outstanding team for this project, prominently featuring one of the most renowned figures in contemporary horror cinema: James Wan, who is celebrated for creating and shaping several beloved horror franchises, including the groundbreaking Saw series and the critically acclaimed Conjuring Universe. In my experience, any project bearing Wan’s name tends to be a winner.
It’s important to note that this is an adaptation of Stephen King’s short story, The Monkey. While Osgood drew elements from the original story, he crafted his unique version. So, whether you’ve read the story or not, you’re in for lots of surprises and an outrageous ride.
The film starts with an incredible cold opening, featuring a surprise cameo that is best experienced firsthand. A father is desperately trying to get rid of the creepiest drum-playing toy monkey you will ever see (but never call it a “toy” to its face). He takes it to a pawn shop, but the owner is not interested in buying it. The father warns the owner not to crank it up under any circumstances, but of course, the monkey gets cranked up anyway, leading to a series of horrific events. It begins with a wild kill scene that I can see becoming one of my top kill scenes of the year.
In the film’s first half, we meet the father’s abandoned family: twin brothers Hal and Bill (both played by Christian Convery) and their mother, Lois (Tatiana Maslany). The brothers discover the menacing toy in their father’s closet, and that’s when freak accidents happen to those close to the boys. After many attempts to rid themselves of the monkey, they finally find a way that seems to have worked.
In the second half of the film, we flash forward 25 years to the adult Hal (portrayed by Theo James). Much like the adult characters in It Chapter Two, he has also lived a troubled life, constantly in fear of the horror returning. Hal is now the father of a teenage boy named Petey (Colin O’Brien), but he isn’t very present in the boy’s life.
They have one week together before Petey’s stepfather, (Elijah Wood in a humorous role), legally adopts him. To make the most of their time together, they decide to go on a staycation at a local hotel. A mysterious phone call about the horrific murder of a family member leads Hal and his estranged twin brother, Bill, to believe that the monkey is back.
The killing scenes are primarily promoted about this film, and they certainly deliver! They are reminiscent of Final Destination, because someone will die when the monkey is cranked up, and much like Final Destination, death will find you. It’s a matter of when, who and how. The only one who will not die in The Monkey is the one who turns the key.
The film’s pacing felt appropriate, since the kills are the movie’s primary focus. Of course, some happen so close together that it makes you wonder if they will become too repetitive or played out, and I can guarantee they do not. There are so many different ways people die in this film, it is wild; just read the movie poster about all of the weapons of death!
Don’t hesitate to laugh at some — they’re meant to be comical! Additionally, the film is filled with clever and dark jokes that had me kicking my feet in delight. This humor is reminiscent of many Stephen King novels, often featuring uncanny scenarios, crude language and children using the F-word. While it may not be for everyone, it’s taboo, which Mr. King is known for being.
Speaking of the author, I found this film to be a love letter to Stephen King fans. Theo James provides a voice-over for much of the first half as adult Hal, evoking a similar feel to the movie adaptation of Stand by Me. The color grading has vibes akin to The Shining, with every scene featuring a taupe hue and earthy tones. In the original story, Hal does not have a twin brother, but in the movie, he does; his brother is named Bill, which brings to mind It.
Additionally, Maine plays a significant role in this film as well. I won’t reveal all the Easter eggs, but King heavily influences this movie and serves as a wonderful tribute to the master of horror. King has commented positively on the film and says it’s “batshit insane.”
I second that!
Kudos to Theo James for his portrayal of both Hal and Bill. He does an excellent job of embodying both characters — I even wondered if he had a twin in real life. Hal is a troubled and awkward adult, while Bill is a deadbeat loner who can’t let go of the past. Their appearances are quite different as well. It is fascinating that he managed to take on double the work for this film.
The same goes for Christian Convery, who played the younger versions of Hal and Bill. I had no idea it was the same actor in both roles — very impressive! It takes a lot of talent to perform two distinct roles with different personalities and blend them seamlessly in the same film, much like Mia Goth in Ti West’s X. I imagine this requires significant talent and stamina.
My main critique concerns the reveal of a villain at the beginning of the third act. The way the character was presented felt random and strained my suspension of disbelief, making it highly jarring. It happened so quickly that I initially thought I had missed something. However, upon reflection, I realized that the monkey cannot function without someone turning the crank in this movie. So, we needed a villain to keep the story interesting and moving forward. It’s not the direction I saw the film going, but it didn’t ruin my experience. Questions remain unanswered, but sometimes, you have to roll with it.
Overall, I rate The Monkey four out of five stars. It is best seen in full theater to experience the laughs and the shockingness of the kills. As weird as that sounds, this movie offers so much eye candy. From intense kill sequences to trippy, dreamlike scenarios, this movie may cater to a more niche audience, but it is one of the more fun theater experiences I can see audiences having this year! Plus, at a runtime of 98 minutes, it entertains without overstaying its welcome.