Coming off Longlegs, expectations were high for Osgood Perkins’ The Monkey. This adaptation of a Stephen King short story is an entertainingly morbid ride that leans more into absurdity than tension, embracing dry, sarcastic wit and slapstick-infused carnage. More than anything, it laughs in the face of death—turning fate, randomness, and mortality into a cosmic joke.
The narrative, however, feels lopsided. The film lingers too long on the younger versions of Hal and Bill, long after the premise is clear, delaying the more compelling present-day storyline. The past sequences do their job setting up the curse and the upbringing of these two brothers, but they drag, leaving the adult Hal and Bill’s arc feeling underdeveloped in comparison. Hal’s relationship with his son is also underbaked, despite the film toying with themes of parental influence and neglect. And the overall dramatic tension is a little bumpy. The film’s clear thesis and fun journey are occasionally undermined by a slapdash approach to its narrative, leaving the dramatic throughline wanting.
Theo James delivers a strong performance, making Hal a compelling lead and navigating the film’s mix of horror and dark humour with ease. Christian Convery, playing their younger counterparts, has more uneven moments, while Tatiana Maslany has a solid turn as their mother, though she’s underutilised—she deserved more screentime. There’s also a good time to be had with a few of the familiar faces that pop up throughout.
OTHER POSTS:
Perkins’ direction shines in bursts—especially in the film’s elaborate, darkly funny death sequences—but the tension leading up to them is lacking. With its elaborate, chain-reaction-style kills, The Monkey naturally invites Final Destination comparisons – and it could have used a bit more of that franchise’s focus on nail-biting set-pieces. Personally, I think the film, as a whole, would have benefited from a stronger horror lean, but there’s an energy to the wit and the carnage does deliver for those with the right appetite.
Visually, the film is polished, with strong cinematography and a playful sense of style. While some budget limitations do creep into the finale, it’s a well-crafted production.
The Monkey is an amusing, blood-soaked horror comedy that doesn’t take itself too seriously, although some uneven pacing and a lack of sustained tension do hold it back somewhat. Like its titular monkey—just don’t call it a toy, as the characters remind you—it bangs its drum with gory enthusiasm, but the impact doesn’t always hit as hard as it should.
