The newest Stephen King horror movie adaptation, “The Monkey,” attempts to deliver a “Final Destination” style thriller with a cursed monkey at the center of its chaos. But its struggle with comedic timing and an uneven tone keep it from reaching its full potential.
Based on King’s 1980 short story of the same name, the film directed by Osgood Perkins follows twin brothers Hal and Bill Shelburn, both played by Theo James.
As children, the boys discover a toy monkey and experience its horrors firsthand when their mother mysteriously dies as a result of its curse.
Twenty-five years later, the toy returns unexpectedly, bringing a trail of terror back into their lives and threatening Hal’s son Petey, played by Colin O’Brien.
The central mechanic of the wind-up monkey involves turning its key that results in someone’s death.
This concept is introduced but never properly explored, leaving the curse feeling more like a random chance rather than a decided action.
The movie presents an interesting but familiar premise but lacks the tension and structure that made films like “Final Destination” a standout in the horror movie genre.
“Final Destination” builds suspense by following a precise chain of events – each death unfolds through a series of small, seemingly unrelated incidents that perfectly align to create an elaborate and gruesome death.
“The Monkey”, both the film and the demonic toy within it, lack any clear set of rules that govern its power or will to kill people so violently.
The monkey kills those in a way so rare that it only happens to one in a million and when compared to the many funerals Hal and Bill Shelburn attend in their youth, the common truth is death is inevitable.
“Final Destination” works because it follows a strict pattern in which the figure of death claims its victims in a specific order, creating a sense of inevitability and dread.
This leads to an issue in films and TV known as plot armor, a term defined by the Urban Dictionary as a situation where important characters are protected from harm in ways that strain credibility.
As Bill Shelburn repeatedly turns the monkey’s key in an attempt to kill his brother, Hal Shelburn and Petey never face any direct threats – aside from the death of their real estate agent.
Hal Shelburn and Petey are never seen to be in any real danger, even as the cursed monkey continues to take the lives of almost everyone else around them.
The deaths feel disconnected rather than designed, with each gory moment standing out more as isolated spectacles than as part of a cohesive narrative.
While the kill sequences are creative and well-executed, they lack the narrative weight to make them meaningful to the audience.
Instead of building tension, the film relies on shock value, making the horror less effective over time.
Bill Shelburn’s ongoing obsession with using the monkey to kill his brother eventually backfires when the monkey turns on him.
Which feels more like a convenient end to the story than anything destined for death.
The film never fully establishes what keeps Hal Shelburn and Petey safe throughout the film, making their survival feel predictable rather than uncertain.
James’s dual performance as Hal and Bill Shelburn is initially promising but falters as the movie progresses when their characters have to have more face-to-face interactions.
Playing two roles can be challenging for any actor and while James delivers a solid individual performance, his portrayal of the brothers together lacks chemistry.
Their interactions feel unnatural, especially during Bill’s death where the apparent use of a split screen left me jarred because it was clear that James had been duplicated in post-production.
What should have been an emotionally intense scene with the death of the main character’s brother instead feels like a gimmick that pulls the audience out of the movie experience.
O’Brien’s performance as Petey was the true standout of the film and his comedy brought a much-needed break to the monotony of the story.
Petey’s witty remarks, especially when his father unhelpfully avoids explaining anything about the monkey to him, set up a few bonding moments they share.
His callouts to his dad add a genuine humor to the film that feels natural, making his character one of the most enjoyable aspects of watching.
Unlike other forced comedic elements in the film, O’Brien’s humor enhances his character without undercutting the horror.
For horror fans who enjoy “Final Destination” for its elaborate and gruesome kills, “The Monkey” does deliver visually.
The deaths are well-choreographed and visually striking, providing some of the film’s most memorable moments.
However, the film never fully explains why the monkey chooses its victims or why its curse remains tied to the Shelburn family, making the terror feel unfocused.
Ultimately, “The Monkey” falls short of its potential especially considering it comes from the pens of both King and Perkins.
While it has a promising concept and some strong performances, it lacks the structure and suspense to make it a truly effective horror film.
Fans of the genre looking for a deep, well-crafted story may find themselves disappointed, but those who enjoy horror purely for the spectacle of inventive kills might still find it worth watching.
