The Monkey (2025) - Film Review

      **The Monkey, 2025.**

      **Written and Directed by Osgood Perkins.**

      **Starring** Theo James, Elijah Wood, Tatiana Maslany, Rohan Campbell, Christian Convery, Adam Scott, Sarah Levy, Colin O’Brien, Zia Newton, Kingston Chan, Osgood Perkins, Laura Mennell, Corin Clark, Danica Dreyer, Dianne Greenwood, and Beatrix Perkins.

      **SYNOPSIS:**

      When twin brothers Bill and Hal stumble upon their father's old monkey toy in the attic, a string of horrifying deaths begins. The brothers opt to discard the toy and attempt to move on with their lives, gradually growing apart over the years. The fear of death is a universal concern, especially heightened when a wind-up, drumming monkey toy—with a sinister grin—takes pleasure in traumatizing individuals by orchestrating fatal accidents within their families. This film, penned and helmed by Osgood Perkins and inspired by a short story by Stephen King, explores not only generational trauma but an overarching dread of death itself, prompting individuals to isolate themselves from family to protect them and avoid being liable if the malevolent monkey returns for more chaos.

      Naturally, Hal (Theo James) cannot directly discuss his fears with his wife or their young son Petey (Colin O’Brien), fearing he would be justifiably labeled insane and confined to a psychiatric facility. The narrative includes an extended flashback that illustrates Hal’s childhood alongside his identical twin brother Bill (both portrayed by Christian Convery in 1999 and Theo James in the present day, each excelling in contrasting roles that embody reserved and confrontational traits) depicting family challenges involving a runaway father, sibling conflicts, and bullying while laying out the origins and capabilities of the titular toy monkey.

      The killings focus less on dramatic build-up, akin to Final Destination, and more on the abruptness of death paired with the delightfully macabre scenarios themselves. This unfolds as a dark, twisted comedy, introducing the twins to the harsh realities of death at a young age; as their mother (Tatiana Maslany) states, "everyone dies, and that’s f***** up." The prevalence of death becomes so routine that, at one point, Osgood Perkins swiftly transitions to another funeral, creating a comedic effect. Yet, the film quickly redirects to depict another bizarre fatality. There is a desire for increased tension leading up to some of the deaths, particularly within a humorously compiled sequence.

      The Monkey pushes these themes to deliver a “that’s life” comedic take. Its latest poster explains that the film "is about twin brothers who discover a toy monkey that enjoys killing their family. It features outrageous violence, disturbing gore, and unspeakable tragedies." It concludes with the notion for Osgood Perkins that “it’s pretty f***** funny.” This is not untrue. The filmmaker subverts expectations typically associated with a Stephen King adaptation, swapping intense horror for something more sardonic and almost resigned, using the killings as tasteless punchlines while maintaining a steady grip on the humorously dark tone alongside unexpected emotional depth.

      In one scene, Hal informs a disengaged coworker that he has taken time off work to spend with his son Petey, who he intentionally chooses to see only once a year, clarifying that this is not a result of marital issues or a communication breakdown. While the conversation is amusing due to its absurdity, it also carries an underlying sadness given the context. When Hal interacts with Petey, the suppressed affection he feels is palpable, yet there’s a trepidation to express it for fear of the childhood toy monkey’s return. Balancing these emotional layers amid a series of whimsically deranged fatalities—some creatively depicted (retreating from the dangers of a golf course) or shockingly exaggerated (an entertaining death by electrocution)—is commendable, hinting that despite the gruesome entertainment, there’s more the film seeks to convey.

      Some themes are clumsily interconnected, engaging with ongoing motifs of negligent fathers, grief, family conflicts, and the inescapable nature of death that can deter one from truly living. The characters who understand are somewhat reassured, knowing that the monkey will not indiscriminately choose its victims unless it is wound up. Although the monkey does trigger inexplicable accidents, some characters set each other up before it unleashes its lethal consequences. However, the film does persistently hammer its metaphors and messages, which can become tiresome but does not detract from its morbidly captivating nature.

      The Monkey is a wildly entertaining black comedy with a dark undercurrent; it evokes more emotion than one might expect, yet is appropriately energized by refreshingly outrageous deaths that reflect a grim and inaccessible reality of existence.

      **Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★ ★**

      Robert Kojder is a member of the Chicago Film Critics