Osgood Perkins' latest horror film, The Monkey, has made waves due to its unique blend of humor and horror, based on Stephen King's short story. Following its release on February 21, 2025, the film has garnered mixed reviews, with critics applauding Perkins’ creative vision yet questioning the coherence of his narrative choices.
The plot revolves around twin brothers Hal and Bill Shelburn, ingeniously portrayed by Theo James, who navigate the chaotic aftermath of encountering their father’s eerie mechanical monkey. The initial setup features Adam Scott as their father, warning of the monkey’s dangers at the beginning of the film, adding to the premise's chilling allure. “It’s not a toy,” he insists, setting the tone for the chaos set to ensue.
Critics, such as Ty Burr from The Washington Post, characterized the film as “a splattery horror comedy” and noted Perkins’ return to humor layered amid tragic narratives. The story is crafted around themes of familial strife and trauma, often leading to grisly fatalities—whenever someone turns the key on the monkey, another life is extinguished.
The exploration of sibling dynamics is particularly pronounced, with Hal portrayed as the sensitive twin, forever haunted by the consequences of their father’s absence. His resentment toward his more miscreant sibling Bill, mingled with their ominous family legacy, fuels the horror narrative as the brothers are thrust back together under grim circumstances. Critics noted this exploration of brotherly ties as bold, albeit uneven due to its blend of light-hearted and horrific elements.
The inventive deaths, conjured from Perkins' vivid imagination, are notable, fostering both horror and dark humor. Death scenes range from cartoonishly absurd to gut-wrenching, leading some viewers to find the contrasting tones disjointed. One review remarked, “The film feels like a more conscious move away from Gothic horror, plunging instead toward Americana absurdities.” Critics pointed out the film's execution may appeal more to those with a penchant for gore than traditional horror audiences.
Further enriching the narrative are the film's supporting characters, including the mother figure played by Tatiana Maslany, who struggles with her children’s traumatic upheaval. The film captures her weariness alongside her attempts to forge stability for her sons—each character fleshed out through Perkins’ skilled direction.
Even Perkins himself appears as Uncle Chip, glorified by critics who applauded his introduction of whimsy set against the backdrop of death. Each character seems to spiral naturally toward absurdity, encapsulated by one critic’s remark: “You may never look at a monkey’s face the same way again.” Yet this very approach raises questions about the narrative’s coherence, with plot inconsistencies noted, such as the perplexing presence of cheerleaders—a bewildering choice met with confusion from critics.
Perkins, building on previous experiences as the son of horror icon Anthony Perkins, brings his own trauma and sensibility to the narrative. Many reviews discussed his familial legacy—specifically, how it intertwines with his creativity, pressing themes of survival against despair, humor, and gore.
With divergent perspectives, some reviews reflected on whether the humor effectively mitigated the horror without undermining the film's dramatic weight. “Does the blend work? That depends partly on how easy it is for you to laugh at cartoonish violence,” noted one critic, emphasizing the subjective nature of horror-comedy.
Overall, The Monkey stands out as visually inventive but remains thematically complex. Critics agree it may not resonate with all audiences, especially those less inclined to appreciate gruesome humor alongside explorations of male relationships. Perkins’ vision may leave some viewers giddy with its brazen artistic choices, tackling somber themes tucked beneath layers of joke-laden dialogues and visceral creativity.
With its polarizing reception, many affirm The Monkey is unlikely to be forgotten soon. Its eccentricity and outrageous qualities suggest it fits best within late-night film screenings, enjoyed among those who share the same penchant for bizarre horror. Time will tell if it achieves cult-status within the genre—but it certainly leaves viewers with plenty to chew on.