Osgood Perkins’ The Monkey brings a gleefully absurdist approach to the concept of mortality, borrowing from Stephen King’s short story to create a Final Destination-style comedy romp where death is both inevitable and laughably over-the-top. With the recurring theme that “Everybody dies, and that’s life,” Perkins embraces a playful tone as he mines death’s inescapable grip for dark humor rather than dread.
In this adaptation, Perkins takes significant liberties with King’s original tale, using it as a loose framework to explore the grotesque and absurd ways death strikes. The film opens with a blood-soaked pilot (Adam Scott) walking into a pawn shop, eager to rid himself of a cursed vintage monkey toy. This bizarre opening sets the tone, with the toy’s rhythmic drum triggering a chain of increasingly ridiculous, fatal accidents—a reminder that death is both inevitable and comically random.
The story quickly shifts to the pilot’s twin sons, Hal and Bill Shelburne, played by Christian Convery (as children) and Theo James (as adults). When the brothers discover the unsettling toy in their attic, its dark power to cause death propels them into an ongoing battle with fate. Despite the toy’s ominous presence, their relationship becomes strained, with the absurd consequences of its magic driving a wedge between them.
Perkins clearly delights in bombarding viewers with a non-stop parade of absurd death sequences, each one more outlandish than the last. A woman’s head igniting in flames is just the beginning of a grotesque, yet darkly humorous, chain of events that wreak havoc on the family home. This carnage is only heightened by the supporting cast, including Tatiana Maslany as the beleaguered mother, whose deadpan delivery of the “Death is life” mantra reinforces the film’s irreverent worldview.
The comedic madness is bolstered by a stellar ensemble. Sarah Levy shines in a role that plays to Perkins’ twisted humor, while the filmmaker himself makes an amusing cameo as the boys’ eccentric uncle. Elijah Wood and Rohan Campbell further amplify the film’s offbeat vibe, playing oddball characters who complicate Hal and Bill’s attempts to find closure.
At the heart of the film are Convery and James, who bring depth to the chaos. Convery captures the innocence and growing horror of discovering the toy’s malevolent power, while James delivers a standout performance, offering a mix of dry wit and dramatic range as the more cynical of the brothers. His portrayal is especially electric in scenes where he faces off against himself, embodying two distinct characters trapped in a bizarre, fatal loop.
While The Monkey is not a straightforward adaptation of King’s original story, Perkins’ reimagining favors audacious humor and outrageous spectacle over fidelity to the source material. The film’s reliance on visual effects over practical stunts may detract from some of its charm, but its manic energy and wild death sequences make up for it. Perkins, known for his quirky approach to horror, takes full advantage of the opportunity to create a madcap, high-concept exploration of life and death.
Ultimately, The Monkey is a riotous, grotesque celebration of mortality that refuses to take itself seriously. Perkins’ adaptation delivers a refreshing take on King’s work, where death’s randomness is not only unavoidable but absurdly entertaining. With its brisk pacing and playful spirit, The Monkey makes a compelling case that death, while inevitable, is best met with laughter and irreverence.
Related topic:
“The Blue Trail’ : A Dystopian Fable of Liberation and Resilience
Bong Joon-ho’s ‘Mickey 17’ Brings Dark Sci-Fi Satire to Berlin
“Conclave” and “The Brutalist” Shine at BAFTA Film Awards