‘The Monkey’ is Osgood Perkins’ follow-up to ‘Longlegs’ and adapts Stephen King’s 1980 short story about twin brothers who inherit a deadly wind-up toy monkey.
The toy kills anyone who winds its key, and after a series of gruesome deaths, the brothers dispose of it, only for it to resurface years later. The film follows their reunion as they try to stop the monkey’s killing spree once and for all.
While ‘Longlegs’ built tension through slow, deliberate reveals, ‘The Monkey’ feels disjointed and underbaked, relying on gruesome deaths that lack the same organic suspense. The deaths feel like a checklist of shock value rather than moments of true terror, and the film’s subplots, including Hal’s strained relationship with his son and ex-wife, are underdeveloped.
Despite the film’s narrative weaknesses, Perkins shows promise as a director with bold swings and striking cinematography. However, the horror never quite lands, and the comedy fails to balance out the darker elements. ‘The Monkey’ feels like a missed opportunity, prioritizing grotesque spectacle over meaningful character development or emotional stakes.
In my latest review, I explore the film’s shocking moments, its horror-comedy flaws, and why the film’s reliance on spectacle and shock value leaves it feeling hollow.
Letter Grade: C