Everybody dies, and that’s life.
What isn’t “just life,” though, would be an AC unit falling from the roof into the pool or a face full of fish hooks. However, this is exactly the surreal, dark and surprisingly hilarious world of “The Monkey.”
Directed and written by Oz Perkins off the short story by Stephen King, trailers for “The Monkey” depicted a tense, violent and brutal slasher with little reprieve from previously unfathomable deaths. The film is still chock-full of these events, some deemed “rube-goldberg murders,” but what was not shown in promotional material was the consistent laughs garnered by the total hysteria of the world.
It makes sense, as coming off the hype of Perkins’ previous film “Longlegs,” viewers expected (and perhaps desired) he’d continue that dark Lynchian world building. “The Monkey” is no “Longlegs” though, and will fall short of that mark to many.
However, to both those who did and did not like “Longlegs,” find enjoyment in the fact that this is a wildly different and very entertaining higher-paced film. “The Monkey” does not take itself seriously, nor should a movie about a cymbal-banging monkey toy who may literally be the devil incarnate.
In fact, the film is at its best when it takes itself the least seriously, seen in its hilarious scenes with Nicco Del Rio’s “rookie priest.” Trying desperately to weather the storm as a 20-something preacher, Del Rio’s performance is a surefire laugh with every appearance as he oversees a city facing what could be described as biblical plagues.
Another fantastically stupid (in a good way) performance is Theo James as Bill. Twin-brother of protagonist Hal (also played by James), Bill is a ridiculously absurd character whose obsession with theatrics is played to a tee by James’ silliness.
Many of the film’s best moments are in its humor by way of cuts. While fans of wild and shocking deaths will not be disappointed with the brutal “accidents” visibly seen in the film, some have abrupt and shocking cuts to after-the-fact that feel cartoonish in a way only a good dark comedy is.
Cinematographer Nico Aguilar captures these comedic moments and also builds tensions in all the right ways. Combined with Edo Van Breemen’s composing, more than a few scenes will have the viewer gripping the sides of their chair, as the music builds, anticipating just how bloody things are about to get.
“The Monkey” is not without its faults. Like most other movies, it falls victim to a lack of ability to accurately write dialogue for kids, with some of the dialogue coming off as formulaic and cringey. It also does not seem to have a whole lot to say, but that does not stop it from being a whole lot of fun.
If one enters expecting the next “Longlegs” or “Hereditary,” they could leave disappointed; but, as far as dark, funny and shocking films go, “The Monkey” is a more-than-passible weekend viewing.
