I think everybody probably had that object, maybe something that would’ve been classified by previous generations as a toy, that creeped them out when they were a child. It didn’t even have to be yours, or even at your residence. Like a disturbing doll with a porcelain head and limbs at your grandmother’s, or a parent’s ratty old teddy bear with those disturbing glass eyes.For me, it was one of those tiny, tabletop picture frames that you could close like a book and latch shut. In it was an eerie old photo, the kind that faded along the edges, of an old, white-haired man from the early 20th century. Pretty sure my parents bought it at an antique show some time. Why? Don’t ask me. It really didn’t go with our 1980s décor, that’s for sure. Don’t know who the guy was, either, but my parents called him Old Uncle Herbert.It wasn’t just the photo that frightened me, it was the fact that on those cold nights when we’d have a fire going in the fireplace and we’d turn out the lights to simply enjoy the flicker and glow and warmth, Dad would enjoy freaking me out with stories about Old Uncle Herbert until I begged him to stop. Yet, all these years later, they wonder why I enjoy reading, writing and watching horror.A similar, yet decidedly way more sinister, object is at the titular heart of the new film called The Monkey.Twin pre-teen brothers Hal and Bill (both played by Christian Convery) are being raised by a single mom, Lois (Tatiana Maslany). Their father abandoned the family years ago, long enough that the boys don’t really remember him. One day, while going through the closet of their dad’s things, they find a box containing a wind-up drumming monkey.Turns out that if you turn the monkey’s key, it will decide to stage the brutal murder of someone close to you, either by relation or proximity, choosing its victim at random. The monkey cannot be destroyed and it will just show up wherever you might be, seemingly by magic.The twins try to neutralize it by chaining its box and tossing it down a well, but twenty-five years later the brothers (now both played by Theo James) discover it has somehow returned to wreak more havoc upon their lives.Written and directed by Osgood Perkins, based on a short story by Stephen King, The Monkey is a giddily gory good time. Taking a complete tonal shift from Perkins’ disturbingly dark hit from last year, Longlegs, this film revels in the humor derived from outlandish death scenes with over-the-top gore effects.The blood and guts aren’t the only hilarious things in the film. The script is a treasure trove of bizarre situations and almost Lynchian visual gags, which all combine to create one of the most unique moviegoing experiences of the year, and in a long time.As for the cast, this is one of those rare films, like Buckaroo Banzai, that appears unhinged on the surface, yet the cast is so in sync with the proceedings and the director’s vision that everything jells perfectly.Perkins and company have taken King’s story and used its inspiration to create a gloriously gloopy-gloppy story, creating the best film of the year, so far.Post-Credit Lowdown:Stay after the credits. Instead of getting more from this movie, you’re treated to a teaser trailer for Perkins’ next film: Keeper.
I think everybody probably had that object, maybe something that would’ve been classified by previous generations as a toy, that creeped them out when they were a child. It didn’t even have to be yours, or even at your residence. Like a disturbing doll with a porcelain head and limbs at your grandmother’s, or a parent’s ratty old teddy bear with those disturbing glass eyes.
For me, it was one of those tiny, tabletop picture frames that you could close like a book and latch shut. In it was an eerie old photo, the kind that faded along the edges, of an old, white-haired man from the early 20th century. Pretty sure my parents bought it at an antique show some time. Why? Don’t ask me. It really didn’t go with our 1980s décor, that’s for sure. Don’t know who the guy was, either, but my parents called him Old Uncle Herbert.
It wasn’t just the photo that frightened me, it was the fact that on those cold nights when we’d have a fire going in the fireplace and we’d turn out the lights to simply enjoy the flicker and glow and warmth, Dad would enjoy freaking me out with stories about Old Uncle Herbert until I begged him to stop. Yet, all these years later, they wonder why I enjoy reading, writing and watching horror.
A similar, yet decidedly way more sinister, object is at the titular heart of the new film called The Monkey.
Twin pre-teen brothers Hal and Bill (both played by Christian Convery) are being raised by a single mom, Lois (Tatiana Maslany). Their father abandoned the family years ago, long enough that the boys don’t really remember him. One day, while going through the closet of their dad’s things, they find a box containing a wind-up drumming monkey.
Turns out that if you turn the monkey’s key, it will decide to stage the brutal murder of someone close to you, either by relation or proximity, choosing its victim at random. The monkey cannot be destroyed and it will just show up wherever you might be, seemingly by magic.
The twins try to neutralize it by chaining its box and tossing it down a well, but twenty-five years later the brothers (now both played by Theo James) discover it has somehow returned to wreak more havoc upon their lives.
Written and directed by Osgood Perkins, based on a short story by Stephen King, The Monkey is a giddily gory good time. Taking a complete tonal shift from Perkins’ disturbingly dark hit from last year, Longlegs, this film revels in the humor derived from outlandish death scenes with over-the-top gore effects.
This content is imported from YouTube.
You may be able to find the same content in another format, or you may be able to find more information, at their web site.
The blood and guts aren’t the only hilarious things in the film. The script is a treasure trove of bizarre situations and almost Lynchian visual gags, which all combine to create one of the most unique moviegoing experiences of the year, and in a long time.
As for the cast, this is one of those rare films, like Buckaroo Banzai, that appears unhinged on the surface, yet the cast is so in sync with the proceedings and the director’s vision that everything jells perfectly.
Perkins and company have taken King’s story and used its inspiration to create a gloriously gloopy-gloppy story, creating the best film of the year, so far.
Post-Credit Lowdown:
Stay after the credits. Instead of getting more from this movie, you’re treated to a teaser trailer for Perkins’ next film: Keeper.
