For horror films, the use of a monkey in the story is similar to using a clown, even if they are in an ornament object. Both have the notion of unbashful fun, a child-like innocence, a whimsical playfulness that if they once turn evil makes it more diabolical because it is something that is assumed, safe for kids. It is kinda ironic that Stephen King has used them both for his stories. Osgood Perkings no doubt knows this and knows the catalog of King’s work before taking on this film. It shows

“The Monkey” based on the short story by King relies more on the comedy of horror tragedy rather than the cringy tone of horror tragedy that Perkins hammered in “Longlegs”. I was harshly critical with “Longlegs”, with my main points having a script that was at most, junior high school level written, and not showing the action of the horror. Having all of it taking place off-camera.  This time, Perkins shows us, really shows us. This being an earlier King story, all the hallmark ingredients of his stories are here. Dualiaties, small town in Maine, anonymous evil presence in an inanimate object, and parental struggles as a subplot.  

Here, Perkins keeps the camera mostly above the waist and still which will bother some, ignores the massive plot holes which will bother some, and drives the action and breakneck speed which again will bother some. But Perkins to a fault, the essence of the story is far more important than the delivery of the story and here he gets it. The point of “The Monkey” is death and craftsmen of death are non-negotiable, and incorruptible to others wishes, or desires. Death is coming for everyone, enjoy the ride. 

With this film, Osgood Perkings has cemented his footing to do horror films for many years to come. He gets tone, and people do like his aesthetic. There’s a darkness to his films, but also a lot of playfulness which I thoroughly enjoy in his films. Much like the Monkey in this film, Osgood Perkins is drumming to his own beat in his films whether you like it or not.