The Monkey: A Gore-Filled Comedy That Misses the Mark!

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In 2024, Osgood Perkins created one of the year’s standout films with his chilling serial killer horror-thriller titled “Longlegs”. The movie received widespread acclaim from both audiences and critics, with many praising its quality. However, despite its merit, it didn’t receive the recognition it deserved during awards season. Regrettably, voting members from various critic associations (including myself) and major award groups overlooked the film by year-end.

In my latest cinematic endeavor, I’ve brought back the iconic character of Perkins in “The Monkey,” a chilling horror-comedy that serves as a sequel to his previous work. This twisted tale is loosely based on Stephen King’s 1980 short story, with numerous creative twists and turns added by yours truly. The standout feature of this film is the unexpected injection of humor into an otherwise grisly gore-fest. I, the director, balance comedy and horror expertly, making audiences laugh one moment and recoil in shock the next, all while keeping a cheeky grin on my face.

Unfortunately, the blend of horror and comedy in the film doesn’t quite work as intended. The movie contains numerous brutal and shockingly gruesome death scenes that are likely to elicit audible reactions. There are also numerous humorous dialogues distributed throughout the story. However, it is the narrative that fails to hold everything together effectively, leaving a disjointed impression. Not only is it confusing, but it mishandles the weightier themes it presents. As a result, we’re left with little more than graphic violence and humor, both of which become repetitive over time.

In 1999, twins Hal and Bill Shelburn, played by Christian Convery, resided with their solitary mother Lois (Tatiana Maslany). The brothers weren’t particularly close due to the fact that rebellious Bill constantly harassed and demeaned his quieter brother Hal. However, their tranquil lives took a drastic turn when they stumbled upon a wind-up musical monkey in an old box of their absent father’s belongings, causing chaos in their lives.

In this intriguing film, I’ve noticed an eerie pattern: whenever someone winds up the key on the monkey’s back, it starts drumming, and soon after, somebody meets a grisly, shocking end. The reason behind this connection remains a mystery. Who or what is controlling that monkey’s ‘power’? Frankly, I haven’t got the faintest clue. The movie seems to be content in leaving such questions unanswered, adding to the enigma that makes the story so gripping.

The movie’s deepest insights can be found in its bitter skepticism. One character remarks, “Death is just part of life,” implying no meaning, no significance, and no order. While this might spark philosophical debates, it doesn’t necessarily equate to great cinema. In the film “The Monkey,” this perspective seems more like an easy escape than a profound commentary on the absurdity of death. Instead, it appears as if Perkins uses this theme as a justification for his excessive use of gory scenes, almost as if he’s trying to shock the audience rather than provoke thought.

Twenty-five years have passed, and the estranged brothers, portrayed by Theo James, haven’t exchanged words for years. Hal, who now lives in solitude, has a son named Petey (Colin O’Brien). In one of the film’s less fleshed-out storylines, Hal travels to retrieve Petey for their annual visit. During his stay, he learns from his ex-spouse (Laura Mennell) that her new, prosperous husband (Elijah Wood in a somewhat absurd guest appearance) intends to adopt Petey. This domestic subplot feels more like it was hastily assembled than carefully planned.

Indeed, the monkey manages to reappear in their lives once more. They assumed they had parted ways with both the monkey and each other when they tossed it into a well during childhood. However, this primate comes back, leaving a trail of gruesome and vivid deaths in its wake. This unexpected event also serves to reunite the estranged brothers under circumstances that are more laughable than believable. The climax, an over-the-top spectacle, can be seen as either blissfully ignorant of coherence or a witty jab at genre enthusiasts and their readiness to indulge in anything so long as it’s drenched in blood.

As a horror enthusiast, I’ve found that “The Monkey” follows the expanding wave in contemporary horror. It’s another film that leans heavily on gore without truly focusing on creating a frightening atmosphere. Instead, it seems to prioritize humor, though this balance often feels off-kilter. The humor and horror moments sometimes align beautifully, resulting in some genuinely amusing payoffs. However, these successes are frequently overshadowed by the inconsistent tone, the absence of tension, and a narrative that appears somewhat haphazard, as if it were an afterthought.

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2025-02-24 18:57