‘The Monkey’ doesn’t take requests

“The Monkey”
R | 98 minutes
Director/Writer: Osgood Perkins
Stars: Theo James, Tatiana Maslany, Christian Convery

“The Monkey” is a violent spectacle that revels in absurdity. The film, based on Stephen King’s short story, follows twin brothers Hal and Bill Shelburn (played by Christian Convery as children and Theo James as adults). When they uncover a cursed toy monkey among their father’s belongings, they realize that turning its key results in a random, gruesome death — “like life.”

The film doesn’t seem too worried about scares per say — think “The Cabin in the Woods.” Instead, it leans into outrageous, over-the-top kills, punctuated by dark one-liners. Director Osgood Perkins fills the movie with off-the-wall moments, such as cheerleaders arriving at the Shelburns’ old house to celebrate the removal of a dead body. The film treats death as both inevitable and comically grotesque, making it more of a splatter comedy than a horror thriller. 

“The Monkey” thrives in its playfulness and suspense. While its death scenes are inventive — people are shish kabob’d, benihana’d, and even grounded beef by wild horses — it never fully embraces its absurd potential. Sure, there are moments of sharp comedic timing, particularly in a montage that makes each death feel inevitable yet surprising. However, the movie sometimes feels like a paint-by-numbers approach to horror mayhem, lacking the unhinged energy of classics like “The Evil Dead” or “Final Destination” series.

The film opens with a broad, grotesque tone as a man (Adam Scott) covered in blood shoots into a pawn shop, desperate to sell the cursed monkey. Unlike King’s original small toy, this monkey is a 2-foot-tall monstrosity with a wide, toothy grin, clanging its drum to signal the next victim’s demise. The first kill sets the tone: a pawn shop clerk meets a horrific fate when a rat instigates a Rube Goldberg machine that triggers a deep-sea diver’s spear that impales him and then yanks out his intestines like a gruesome clothesline.

Perkins indulges in the kind of elaborate, grisly deaths that horror fans will love. The film pays homage to Grand Guignol horror, but it lacks the genuine unpredictability of the style. Instead, it settles into a pattern where each kill is staged for maximum shock value without adding much depth. The excessive carnage occasionally feels like a checklist rather than organic storytelling.

At the heart of the film is the Shelburn brothers’ fractured relationship. As kids, they were at each other’s throats. Each would wish death upon the other. After discovering the monkey hidden in their father’s belongings, Hal demands the monkey kill Bill, but this demon doesn’t take requests, and he inadvertently causes their mother’s death. This tragedy cements Bill’s resentment toward Hal. As adults, both played by Theo James, their dynamic remains surface-level. Hal, now a father, tries to protect his son from the monkey’s curse, while Bill remains an abrasive presence seeking out his long-lost plaything. Their conflict could have added emotional weight to the story, but it is underdeveloped, making the film’s climax less impactful.

Despite its flaws, “The Monkey” is an enjoyable enough ride, bolstered by its campy humor and fun dialogue. Perkins keeps the film lean, avoiding the bloated runtimes of modern horror films. The quick pacing and comedic cuts enhance the absurdity, such as when an argument between young Hal and Bill abruptly transitions to a funeral, revealing the deadly outcome of their squabble. The cast, including a scene-stealing Elijah Wood as a holistic wellness coach, commits fully to the film’s bizarre tone. 

“The Monkey” is at its best when it embraces its ridiculousness, and the attempt at a profound ending falls flat. The film’s final act attempts to introduce a deeper, more serious theme, staying true to King’s penchant for mixing horror with emotional gravity. However, this shift in tone feels out of place, given the film’s consistently humorous approach. “The Monkey” is not trying to pass on life lessons. It is content to be just one long, sick joke without a punchline, designed to occasionally punctuate with a lot of “holy shit” moments. You may love it or hate it.

The film thrives on its absurd kills and dark humor, making it a fun, if not particularly scary, entry into the horror genre. Either way, you’ll leave fully aware of the concept that no one is guaranteed a dignified exit from this world. ♦