The Monkey is exactly the kind of hilarious, madcap horror-comedy we need to inject a little life (and death) into cinemas this February. The latest from Longlegs director Osgood Perkins, The Monkey is based on the Stephen King short story of the same name and follows twin brothers who discover a mysterious wind-up monkey (don’t call it a toy) that belonged to their AWOL father. Soon after, people around them start dying in a string of bizarre and extreme accidents.
With a setup like that, it’s hard not to have fun. I was unfamiliar with the original short story, so I can’t speak to its faithfulness as an adaptation, but I can say that going in relatively blind made for a great movie-going experience.
Above all, the movie doesn’t take itself too seriously—it’s easily Perkins’ funniest and most popcorn-worthy movie to date. So, if you’re one of the people who enjoyed the more humorous parts of Longlegs, odds are you’ll love The Monkey. Just be aware that, for the most part, this is a different beast, differing wildly from Longlegs in tone.
As with Perkins’ other films, I don’t think this movie will be for everyone, but it sure as hell worked for me. I’ve mostly been a fan of his previous work, even the ones that have been less critically well-received. I liked Longlegs; I appreciated the strange, slow artfulness of I Am The Pretty Thing That Lives in The House; and I loved The Blackcoat’s Daughter, which genuinely chilled me when I first watched it many years ago.
The Monkey is a great addition to that filmography, though it might be lacking the depth or uniqueness of some of Perkins’ other movies.
It’s also, by far, his least frightening movie to date. If you’re coming into this one expecting to be scared, you’ll likely be disappointed. As a horror movie, it sort of falls flat. But as an over-the-top horror-comedy, it provides plenty of laughs and some very creative kills that don’t pull any punches.
If anything, it’s the moments when the movie tries to get overly serious or inject some family and relationship drama that don’t fully land. The throughlines are there, and the monkey as a metaphor for fathers passing down their trauma and darkness onto their own kids mostly works—but the characters themselves just don’t really have enough depth, and we as an audience don’t really have enough time with them to really care about their relationships with one another.
Theo James does a fine job in a dual role as the adult version of twins Bill and Hal, making each twin feel distinct and clearly having some fun. Speaking of dual roles, Tatiana Maslany plays Bill and Hal’s mom, Lois, and was definitely the standout for me. She just knows exactly what kind of movie she’s in, and plays it perfectly. Beyond that, Elijah Wood and Adam Scott also show up in fun bit parts, making the most of limited screentime.
Casting Maslany in a movie in which one actor plays two roles might be a clever nod to her turn playing multiple roles on Orphan Black, or else it’s a fun coincidence. Either way, the movie is full of similarly clever nods, running gags, and brick jokes that reward those who are paying attention and pay off to great effect. For such a dumb movie (complementary), it’s a lot smarter than it appears.
What more can I say? It’s big, dumb fun, with a mean streak that schlock horror fans will love.
Verdict
The Monkey is for all the sickos who miss the Final Destination franchise. It’s unserious and stupid in the best ways, with some of the funniest, goriest, and most creative horror movie kills I’ve seen in a hot minute. While the movie tries for some deeper themes, it’s best when it’s not trying to be anything other than an absurd and silly gorefest. This movie won’t be to everyone’s taste, but those who are on its wavelength will lap it up.
Shea Angus