Since his first film “The Blackcoat’s Daughter”, director Osgood Perkins has been recognized for creating chilling, suspenseful, and eerie horror movies. Last year’s hit movie, “Longlegs”, provided a distinct mix of classic horror themes to create an unsettling experience for viewers, while “I Am the Pretty Thing That Lives in the House” and “Gretel & Hansel” also immersed audiences in ominous and creepy atmospheres. Contrary to popular belief, Perkins’ upcoming movie, the Stephen King adaptation “The Monkey”, is not just another dark and grim journey; instead, it balances respect for the source material with a fresh take by incorporating intense violence and dark humor in this chaotic and cathartic exploration of generational trauma.
Exploring the belongings of my late father, twin brothers Hal and I (both portrayed by Christian Convery in our younger years) stumble upon a spooky, wind-up monkey toy. The inconvenience lies in the fact that whenever this mechanical monkey ceases its drumming, someone dear to us meets an unusual and chilling demise. Overcome with dread, we’ve been trying to get rid of it for years. Fast forward a quarter century, and Hal and I (now played by Theo James) believe we’ve left the cursed artifact behind us. However, the bizarre deaths return to haunt us, compelling us to confront the monkey one last time in an attempt to put an end to this macabre cycle.
As a devoted cinephile captivated by the masterful storytelling of Stephen King, I’ve witnessed numerous narratives from his rich repertoire transformed into gripping live-action films. Many of these adaptations manage to preserve the eerie essence of their source material, such as classics like Stand by Me, The Shawshank Redemption, and The Green Mile . However, it’s King’s chilling tales that have truly etched his name in the annals of literature and cinema.
The Shining, Carrie, Misery, and IT are prime examples of spine-tingling horror films, albeit with a dash of humor woven into the mix. These movies have left an indelible mark on viewers due to their nail-biting suspense. Yet, despite the plethora of iconic King adaptations, there are just as many ineffective live-action interpretations. This is often a result of these productions striving for unwavering fidelity to the original works.
In simpler terms, some of Stephen King’s ideas work fantastically in written form but fail to translate effectively when adapted into movies or TV shows, primarily because his writing style can be difficult to maintain on screen. His books often blend horror elements with deep human themes and humor, making them more than just one thing. The movie “The Monkey” might not set a new bar for King adaptations, but it demonstrates that creators don’t have to strictly adhere to the horror expectations associated with King’s work to create an enjoyable experience that stays true to the original while offering a fresh perspective.
In the initial sequence of “The Monkey”, viewers quickly realize that this isn’t a typical Stephen King adaptation, as it kicks off with a comically gruesome scene reminiscent of Looney Tunes rather than any other King movie. Throughout the film, audiences are subjected to an overwhelming amount of grisly and startling deaths, from beheadings to electrocutions, and we eventually lose track of how many bodies or body parts have simply disintegrated in a spectacular fashion. These death scenes are so preposterously absurd (yet delightfully enjoyable) that viewers find themselves chuckling incredulously at the spectacle unfolding before their eyes. While there have been numerous horrifying deaths in King movies, “The Monkey” has raised the bar for how far a filmmaker can push the boundaries in such adaptations.
Unlike most films that prioritize graphic dismemberment, “The Monkey” employs violence in an unconventional manner, making viewers uncomfortable not only through visuals but also by challenging them to imagine the sensations associated with such violence. Rather than glorifying violence for its own sake, this film uses extreme and unexpected carnage to underscore the absurdity of death as a concept. While the intense gore might initially attract audiences, Perkins skillfully interweaves profound insights about human existence amidst all the exploding bodies.
As a movie lover, I found a poignant moment in the film where Lois (Tatiana Maslany) said, “Everyone dies, and that’s life.” This remark, delivered with a touch of humor, underscores the undeniable fact that death is an unavoidable part of our existence. Despite its comedic framing, where characters discuss death like it’s getting a parking ticket or being called for jury duty, it holds a profound truth about life’s finality.
In the face of various scenarios, whether they seem mundane or extraordinary, we all must accept that we will lose those dear to us eventually. It’s natural to dwell on this grim inevitability, but perhaps our time would be better spent cherishing every moment leading up to that inevitable juncture.
In Perkins’ film, death isn’t the only subject he delves into; instead, there’s a recurring motif of fathers transmitting their undesirable traits to their offspring. The movie The Monkey, for instance, symbolizes this curse through a supernaturally potent toy that can lead to the untimely deaths of those near the person who turns it on. However, this deadly toy is also meant to depict hidden character flaws in a less obvious manner. Hal, who seldom meets his son Petey (Colin O’Brien) annually, exemplifies this as he keeps him at bay to shield him from the mechanical monkey. This scenario not only symbolizes parents’ fears of passing down their own wounds to their children but also represents anyone who maintains distance to conceal parts of themselves they’re unwilling to reveal.
The movie’s darker aspects, as seen in The Monkey, emphasize that no matter how hard one tries to hide the worst aspects of oneself, those traumas will eventually resurface. It encourages viewers to acknowledge and confront their entire emotional range, enabling them to monitor even the darker emotions rather than confining them forever in isolation.
As a devoted cinephile, I must admit that “The Monkey” offers an intriguing blend of absurdity and sincere moments, but it may pose challenges for some viewers as it doesn’t always strike the right balance between these two tones (despite the impressive understanding James, O’Brien, and Convery have of the material). The opening scene sets a witty and sarcastic tone for the movie, but there are extended periods without this humor, which can make the return of satirical wit feel jarring.
The film uses intense deaths as deliberate shifts in tone, but it’s the more subtle transitions from Hal’s raw portrayal of his past struggles to dark, macabre humor that might confuse some audiences. Like “Longlegs,” which had passionate followers yet left audiences expecting a different kind of movie feeling alienated, “The Monkey” is bound to surprise and perhaps disappoint those who anticipated a more conventional horror experience.
One aspect I found myself yearning for was a stronger use of practical effects. The explosions of body parts and the grotesque aftermath of such violence would have been even more delightful if they weren’t so heavily reliant on CGI.
Approximately a decade since his first directorial venture, the release of “The Monkey” showcases an unprecedented aspect of Perkins that we eagerly anticipate seeing more of. Although his brooding and somber on-screen portrayals may lead audiences to assume he’s personally melancholic, this new adaptation of King’s “King” offers one of the most boisterous horror films of the year, brilliantly encapsulating both the emotional depth and playful wit that attract readers to King’s work. Although “The Monkey” may not entirely revolutionize the genre, it represents a significant leap forward for Perkins and King adaptations as a whole, generating enthusiasm about what lies ahead for Perkins’s career and the impact he might have on future filmmakers who delve into King’s literary legacy.
Rating: 4 out of 5
The Monkey lands in theaters on February 21st.
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2025-02-18 22:43