The Monkey falls short of Longlegs – but here’s why that’s perfectly OK

In a different phrasing: Before his 2024 horror hit, Osgood Perkins may have been better recognized as the character “Dorky David” from the movie “Legally Blonde”.

Horror enthusiasts recognized titles like “The Blackcoat’s Daughter,” “I Am the Pretty Thing That Lives in the House,” and “Gretel & Hansel.” However, it was “Longlegs” that garnered a broader audience appeal last year, captivating more viewers beyond the horror genre.

The movie “Longlegs” earned over $125 million globally was largely due to a stellar marketing effort from US distributor Neon, outstanding early critical praise, and the star power of Nicolas Cage. It became a surprise hit and its success was so immense that it even sparked a backlash claiming it wasn’t as scary as people thought.

However, the achievement of “The Monkey” carries a cost, as it’s been seen by some fans as a challenging follow-up to Perkins’ work – despite being his fifth directorial venture. And while it might not measure up to “Longlegs” for some viewers, it undeniably represents progress for Perkins as a filmmaker.

The Monkey is a fitting adaptation for Perkins, as it aligns with his recurring theme of exploring family traumas, such as unearthed past secrets haunting the present.

Two identical siblings, Hal and Bill Shelburn (both portrayed by Theo James), discover an unusual wind-up monkey figurine among their father’s possessions following his departure from their lives. This seemingly ordinary trinket, however, proves to be far more than just a toy.

The twins eventually realize that whenever the monkey stops drumming (a shift from the King story, as the cymbal-banging monkey was previously featured in Toy Story), someone meets an unusual and tragic end. Dealing destruction with it is futile; instead, they discard it into a well to ensure it’s never used again.

Surprisingly enough, after a quarter of a century, the monkey returns to continue its gruesome killing spree. Contrary to the usual anticipation of chilling foreboding, Perkins embraces the absurdity, ensuring that even though the monkey’s actions are inherently unsettling, you’ll find yourself chuckling at the grisly deaths – if you have a penchant for such humor.

The quality of The Monkey that makes it favorable for Perkins as a filmmaker lies in its unique blend of horror and comedy. Unlike his earlier works, this movie showcases a different tone, but maintains the style and ambiance from previous films while offering a more engaging narrative.

Initial responses found similarities between “The Monkey” and the “Final Destination” series, a comparison that holds true yet subtly deceives. While there are indeed intricate death scenes, such as an astonishing signpost killing and a grisly harpoon opening demise, Perkins doesn’t always opt for elaborate sequences. Instead, he often chooses a shockingly brutal punctuation mark to conclude his tales.

In the movie “Final Destination,” there’s a sense of predictability regarding the deaths, and each character seems destined to meet their end. The intrigue lies in figuring out how it will unfold. On the other hand, “The Monkey” film explores the unpredictable and spontaneous nature of death, as its tagline, “like life,” implies – anyone can die at any moment, without warning.

As a dedicated gamer, I’ve always been captivated by Oliver Stone’s recurring interest in the stark reality of life – that death is inevitable and it can strike us at any moment. This fascination stems from a personal experience, as his mother, Berry Berenson, was a passenger on American Airlines Flight 11 which tragically collided with the North Tower during the September 11 attacks.

During my initial encounters with ‘The Monkey’, it struck me that people were dying in bizarre manners near the monkey. It made me reflect, ‘People also died around me in equally strange ways,’ which is something I shared with Vanity Fair.

The perspective portrayed in “The Monkey” seems to carry a somewhat pessimistic or unkind tone, which hinders its potential success because it frequently undermines opportunities for exploring the relationships between Hal, his estranged son, and Bill. These potentially poignant moments are often marred by deaths that strip the film of any emotional depth.

Despite the additional depth given to the original tale, “The Monkey” seems rather shallow in terms of plot development. To truly thrive, it could have benefited from a stronger emphasis on character development. As it stands, it offers an exhilarating, gory journey that leads up to its daring finale where Perkins takes an unusual turn.

Although this year’s release might not be “Longlegs,” it could very well be his 2025 film, “Keeper,” that makes the mark. However, his current work certainly demonstrates other facets of Osgood Perkins, which can only strengthen his impact in the horror genre for years to come.

The Monkey is released in cinemas on February 21.

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2025-02-19 18:49