You may believe you understand Osgood Perkins, yet *The Monkey* aims to shift that viewpoint.

The horror director, recognized for producing atmospheric and psychologically charged films such as *Longlegs*, *The Blackcoat’s Daughter*, and *I Am the Pretty Thing That Lives in the House*, ventures into an audacious new territory with his interpretation of Stephen King’s short story. From the very start, laden with violent brutality, *The Monkey* clearly conveys its concept: a cursed antique toy — a mechanical monkey striking a drum — instigates lethal chaos with each crank of its handle.

In contrast to Perkins’ earlier productions, which favored subtlety and gradual tension buildup, *The Monkey* takes on a more outrageous, bloody, and exaggerated approach. While Perkins’ visuals typically pay homage to gothic ghost tales or the taut suspense of the ’90s, this film draws influence from the wild, campy horror reminiscent of *Tales From the Crypt*. Even Stephen King himself has labeled this adaptation as “batshit insane,” and it’s not hard to understand why.

The outcome is a film that feels like a significant shift for Perkins while still drawing from a well-known, delightfully grotesque aspect of horror. Filled with mindless, aggressive, and increasingly creative murders, *The Monkey* serves as a nauseating treat for horror aficionados. It also presents a challenge, provoking viewers to maintain their focus as the monkey’s unwavering stare and outrageous gore unfold.

### What is *The Monkey* about?

Adapted from King’s short story, *The Monkey* narrates the story of Hal (Theo James), a troubled father who collaborates with his young son to annihilate the malevolent toy that has tormented him since his youth. Perkins’ script elaborates on the original narrative, incorporating additional death sequences, a subplot involving custody battles, and an underlying sibling rivalry. In this rendition, Hal and his twin brother Bill (also portrayed by James) first encounter the monkey as children, a mysterious gift from their absent father. They soon uncover its horrifying abilities: turning the crank triggers strange and gruesome accidental fatalities. Frightened, they bury the monkey deep, hoping to end its terror.

Years later, Hal and Bill have drifted apart, but the monkey returns with a vengeance. After witnessing a particularly grisly death, Hal realizes the accursed toy has re-emerged. With Bill now an enigmatic recluse, Hal and his son Petey (Colin O’Brien) must confront the monkey directly. Along their journey, they encounter obstacles from Petey’s excessively cheerful stepfather (Elijah Wood), a reckless young gunman, and a series of astonishing, accidental deaths.

### Adam Scott delivers a pitch-perfect opening.

Adam Scott, celebrated for his roles in horror-comedies like *Little Evil*, *Krampus*, and *Piranha 3D*, in addition to his dramatic roles in *Severance* and *The Vicious Kind*, establishes the tone for *The Monkey* with a riveting opening scene. Portraying a bloodied pilot, Scott’s character rushes into a pawn shop, desperate to dispose of the cursed toy. “Don’t call it a toy,” he cautions the doubtful shopkeeper. However, his effort to offload the monkey concludes in an extraordinarily gruesome manner.

This opening segment serves as a masterclass in tension and dark comedic timing. Editors Graham Fortin and Greg Ng skillfully build suspense, tantalizing the audience with the monkey’s lethal potential. When the violence finally erupts, it’s a savage and creative display that highlights Perkins’ talent for fusing horror with humor. Scott’s performance is pivotal, striking a balance between relatable everyman qualities and the haunted intensity of someone who has endured unspeakable horrors. His palpable fear sets the tone for the uninterrupted mixture of dread and absurdity within the film.

### *The Monkey* is gloriously unhinged.

And that’s a compliment. While numerous horror directors can showcase gore and shocking kills, few do so with the flair and humor that Perkins brings to *The Monkey*. On one level, the film delivers the visceral excitement of witnessing extreme violence in a fictional environment. On another level, it encourages viewers to confront the absurdity of death itself — relentless, random, and unavoidable.

This theme is intricately woven into the narrative through Hal and Bill’s mother, Lois (Tatiana Maslany), who inspires her sons to face death without trepidation. Following a funeral, she coolly observes, “Everybody dies,” before breaking into a defiant dance while dressed in her mourning attire. Her philosophy — laughing at death — becomes the guiding principle of the film.

Through its vivid yet darkly comedic portrayal of death, *The Monkey* implores audiences to embrace the absurdity of life’s transience. The film’s killings are shocking and grotesque, yet they are also infused with gallows humor, compelling us to laugh at the sheer unpredictability of life. Whether it’s a character maintaining their lawn, swimming,