In 2024, Osgood Perkins had the horror community in a stranglehold with his serial killer thriller, Longlegs. The film, which starred Maika Monroe and Nicolas Cage, was straight out of the Osgood Perkins playbook, leaning into the director’s trademark slow burn story drenched in dread. Audiences everywhere were enthralled with Longlegs and have been eagerly awaiting his new film, The Monkey, which arrives in UK cinemas on 21st February. Whilst everyone is keen to see what Perkins has created next, few will be ready for just how tonally different The Monkey is from his previous work.
Adapted from Stephen King’s short story of the same name, The Monkey sees the lives of twins Bill and Hal changed forever after they discover a strange monkey toy in their father’s belongings. Told across a number of years, The Monkey chronicles the horrific ‘accidents’ and deaths that occur within the vicinity of the drumming monkey toy. The story begins in the year 1999, and yet, with the exception of some distinctly 90s hairstyles [hello curtains], there is little to tie the film to the era. In fact, in many ways, everything on screen feels much closer to the 1950s. There is a lack of modern technology and the entirety of The Monkey has a whimsical timeless vibe to it. This is most noticeable once the story jumps forward twenty-five years, to our present day. The lack of social media trappings detaches events from reality, which allows Perkins to push boundaries.
Those expecting the typical Osgood Perkins slowburn traumatic affair will find themselves with little to latch onto. Perkins leaves his trademark style behind to instead embrace his weird and wacky side. The Monkey is not a film that takes itself too seriously, though it does touch upon some deeper themes and issues, especially around toxicity within familial units. Whilst this analysis ensures that there is some meat on the bones, the overriding drive of The Monkey is to provide the audience with a non-stop rollercoaster ride of gore and gags. The deaths are gloriously goopy and hyperbolic; there is a wickedly gleeful Final Destination degree of anticipation to the string of carnage. Add to that some superbly executed edits and it is clear that every element within The Monkey is utilised for maximum comedic effect.
Theo James makes for a fantastic Stephen King everyman, and appears to have been cut straight from the Thomas Jane cloth. James is playing identical twins, and so also has to branch out from King everyman to be King’s staple, unhinged character – think Mrs Camody in incel form. As both Hal and Bill, James shines, and creates engaging characters with whom to experience the chaos with. Given that the body and bloodshed count in The Monkey is sky high, Perkins ensures the audience knows who everyone is based on their hairstyle. Hair plays a big part of the characterisation of the core characters. Both Hal and Bill have very different hairstyles that make them easily distinguishable for the audience despite being identical twins, but it is the supporting characters that stand out; one character with a fringe to rival Claudia Winkleman is especially memorable.
Although much of The Monkey is comedic, the titular monkey is the stuff of nightmares. From its creepy appearance to the eerie, quiet, and still manner in which it is shot, the malevolent toy is unsettling. Add to that its fondness for playing the usually cheery ‘oh we do like to be beside the seaside’, which suddenly induces goosebumps and a pit your the stomach, and everything about it is uncomfortably sinister. It is in the portrayal of this inanimate object that The Monkey feels closest to traditional Perkins territory. The fun is never far away though and so inevitably some of the monkey’s potency is diminished in favour of the humour.
A departure from Osgood Perkins usual slow burn, tension laced, dread fests, The Monkey announces another side to the director. This version is way more fun and fanciful, delighting in projecting all manner of OTT kitsch gore. A film set to play well with a crowd; whilst Longlegs might have been touted as the ‘scariest horror’ of 2024, The Monkey is an early contender for the funniest of 2025.
The Monkey
Summary
Super stylish and somewhat whimsical, The Monkey is a gloriously kitsch comedy horror that has blood and guts by the bucketful.
The Monkey is released in UK cinemas from Friday 21st February 2025.
