The Monkey

The Monkey, written and directed by Osgood Perkins, is a fascinating case study in what happens when a filmmaker takes a seemingly simple horror concept by Stephen King and turns it into a crazy, blood-soaked horror comedy. Adapted from a Stephen King short story published in Skeleton Crew, the film is as much a joyous homage to Final Destination as it is a darkly comic meditation on the inevitability of death. But more than anything, it's an experiment in subverting expectations, not only of what a Stephen King adaptation should be, but also of what horror itself can achieve when approached with equal reverence and irreverence.

For decades, Stephen King adaptations have tended to fall into one of two categories: prestige dramas (The Shawshank Redemption, The Green Mile) or pure horror (It, The Shining). But there are also the weird films, those that embrace the pulpy, absurd character of most of Stephen King's works. Films like Creepshow and Maximum Overdrive revel in their B-movie roots, offering something both grotesque and hilarious. The Monkey belongs firmly in the latter category, and Osgood Perkins, fresh from his disconcerting success with Longlegs, takes full advantage of it. As soon as the titular monkey starts banging his little drum, death becomes a relentless force, striking its victims in elaborate, exaggerated sequences worthy of Rube Goldberg. Decapitation in a teppanyaki restaurant, rogue lawnmowers, impaled flaming heads: the film delights in finding creative ways to slaughter its characters. But unlike the frightening atmosphere of Perkins' previous films, here horror is used for laughs. It's as if Osgood Perkins had looked at Stephen King's penchant for dark stories and said to himself: Let's make it funnier... and bloodier.

It's impossible to talk about The Monkey without mentioning Final Destination, the franchise that turned death into an invisible, meticulous serial killer. Osgood Perkins' film borrows liberally from this recipe book, with the monkey serving as a totem for inevitable death. But where Final Destination relied on existential horror - the idea that no matter what, death will find you - The Monkey takes a more sardonic approach. The film resembles a Looney Tunes nightmare, where the characters are unaware of the deadly chain reactions taking place around them. The difference is that, whereas Final Destination focuses on suspense and tension, The Monkey is more interested in the punchline that follows each grisly death. Take, for example, one of the film's most striking sequences: a woman, in the middle of an argument, gets her foot stuck in a milk jug, causing her to trip over a wooden stake, then her hair catches fire before she lands on a bed of fishing lures. It's a comedy of errors in the most violent sense of the word, and yet instead of recoiling in horror, the audience is invited to laugh at the absurdity of it all.

At the heart of the film's madness is the dynamic between twin brothers Hal and Bill, played by Theo James in a dual role. As children (played by Christian Convery), they stumble across the cursed monkey in their father's closet, unknowingly unleashing its deadly power. Hal, the more sensitive of the two, quickly understands the pattern: every time the monkey bangs his drum, someone dies. Bill, the domineering elder, is less convinced, until the deaths start piling up. Twenty-five years later, the brothers are separated and each is dealing with his trauma in very different ways. Hal has become a reclusive father, terrified that the ape will return to reap more lives, while Bill has embraced his chaotic nature. Theo James delivers two distinct performances, giving the impression that the twins are totally separate people, even when they share the screen. This performance is reminiscent of James McAvoy's in Split, and highlights James's ability to shift from ominous seriousness to messy energy in an instant.

While actor Theo James is the mainstay of the film, the supporting cast adds a further touch of eccentricity. Tatiana Maslany, as the twins' mother, gives a hilarious, nihilistic take on parenting. Her flippant dinner-party speech, Tout le monde meurt, et c'est la vie, perfectly sums up the film's tone: direct, dark and strangely reassuring. Elijah Wood, in a small but starring role, plays Hal's ex-wife's new husband, a self-help guru whose books on child-rearing border on sectarian propaganda. He's the most blatant parody of King's tendency to write obnoxious stepfather figures, but his presence is just one of many delightful surprises scattered throughout the film.

For those familiar with Osgood Perkins' work, The Monkey is a radical departure from his usual fare. The Blackcoat's Daughter, I Am the Pretty Thing That Lives in the House and Longlegs were all defined by their slow-burning tension, bleak atmosphere and psychological horror. Here, Perkins swaps dread for mayhem, and the result is one of the most kinetic, energetic and joyously violent films of his career. But beneath the blood and comedy, The Monkey retains Perkins' characteristic themes. Like Longlegs, it explores the lingering effects of childhood trauma, the inescapability of fate and the fear of passing on one's demons to the next generation. Hal's strained relationship with his son mirrors his broken bond with Bill, making the film not only a horror comedy, but also a tragic commentary on how the past shapes us.

The quality of Stephen King adaptations varies widely. For every Shining or Misery, there's a Dreamcatcher or a Cell. The best adaptations either manage to capture the spirit of the source faithfully, or take bold creative liberties that enrich the story. The Monkey belongs to the latter category. Like Creepshow, it draws on the pulpy, EC Comics-inspired horror that marked King's childhood. And like It, it plays with the double chronology of childhood and adulthood, showing how the fears of the past endure into the present. That said, The Monkey doesn't quite achieve the iconic status of Stephen King's most revered adaptations. It doesn't have the prestige of The Shining or Stand By Me, nor is it as terrifying as It or Pet Sematary. But what it does offer is something rare: a genuinely fun, wildly unpredictable and gory vision of Stephen King's work - one that feels fresh, original and entirely Perkins' own.

The Monkey is not for everyone. Some Stephen King purists will be wary of its comic tone, while horror traditionalists may find its exaggerated violence too absurd. But for those willing to embrace the madness, this is one of the most entertaining Stephen King adaptations in years. Osgood Perkins proves he can shift gears effortlessly, delivering a film that's as much a horror rollercoaster as a commentary on mortality. It's Stephen King meets Sam Raimi meets Final Destination. And if you happen to be in the presence of a wounded monkey who starts drumming, my only advice is this: run like hell.

The Monkey
Written and directed by Osgood Perkins
Based on The Monkey by Stephen King
Produced by Dave Caplan, Michael Clear, Chris Ferguson, Brian Kavanaugh-Jones, James Wan
Starring Theo James, Tatiana Maslany, Elijah Wood, Christian Convery, Colin O'Brien, Rohan Campbell, Sarah Levy
Cinematography : Nico Aguilar
Edited by Greg Ng, Graham Fortin
Music by Edo Van Breemen
Distributed by Neon (United States), Metropolitan FilmExport (France)
Release date : February 19, 2025 (FRance), February 21, 2025 (United States)
Running time : 98 minutes

Seen February 14, 2025 at Gaumont Disney Village, Room 5 seat A18

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