In the realm of horror films that aim to be bizarre, shocking, and violent, The Monkey falls disappointingly flat. Directed by Osgood Perkins, who previously helmed the critically acclaimed Longlegs, the film is surprisingly void of originality and good ideas. In fact, it embodies one of the worst sins a horror film can commit: it is utterly boring.
Following the success of Longlegs, Perkins presents this smaller, semi-comedic project in a hasty manner, which likely contributes to the overall sloppiness of this dark and cursed-toy horror narrative. Despite its attempts to infuse humor and self-awareness through voiceovers and cartoonish characters, The Monkey fails to deliver the essential thrills of either a captivating horror story or an effective comedy.
The plot, inspired by a Stephen King short story from 1980, revolves around thirteen-year-old twins, Bill and Hal, portrayed by the young actor Christian Convery. Bill is the brash and obnoxious one, while Hal is more introspective and often bullied. They are raised by their sardonic single mother, played by Tatiana Maslany, after their father mysteriously disappears. While rummaging through their father’s eclectic collection of junk, the boys stumble upon an old-fashioned organ-grinding monkey that bares its teeth and rhythmically bangs a toy drum. The temptation to turn the key in its back leads to unforeseen consequences.
Whenever they dare to wind the monkey, someone in their vicinity suffers a sudden and grotesque demise, often through freak accidents. Whether it’s a colleague meeting their end due to a malfunctioning vape, relatives being crushed by a stampede of horses while camping, or babysitters facing beheading at hibachi restaurants, the twins soon realize that each turn of the key brings with it deadly repercussions. While initially jumpy and darkly humorous, the film quickly loses its fright factor.
The initial half-hour is filled with inventive yet predictable deaths. However, the repetitiveness of the plot and the incessant use of jarring musical cues to signal tension contribute to a feeling of monotony. Additionally, the dialogue often veers into the realm of the absurd, with lines like, “It’s like that restaurant – Spaghetti City – in there,” following a gruesome incident. Adult Hal, voiced by Theo James, delivers a cringe-worthy, unfunny narration reminiscent of Deadpool, which does little to enhance the viewing experience.
As the narrative unfolds, the twins discover that destroying the monkey is virtually impossible. They attempt to cut it up or dispose of it down a well, but it remains a dark secret that haunts their family. A prologue reveals their father’s desperate attempt to incinerate the toy with a flamethrower, hinting at a connection to his subsequent disappearance.
As they grapple with the consequences of their actions, the brothers grow increasingly estranged. In the present day, Hal, played by Theo James, feels miscast in this role, as the actor’s typical charm clashes with the character’s awkwardness. He is reluctant to involve his young son for fear the monkey’s curse might follow them. However, the two must unite when a rise in accidental fatalities plagues their hometown.
The film culminates in a silly and unsatisfactory conclusion, lacking in any meaningful resolution. The overall tone is marred by a sense of smugness, particularly in scenes where the film attempts to shock audiences, such as with the decapitation of a busload of cheerleaders presented as a comedic moment. Ultimately, after the gripping tension of Longlegs, The Monkey is a letdown, suffering from a cheap cynicism that undermines its potential.
Now playing in cinemas
