Overview
- The Monkey, a horror film stemming from a tale by Stephen King, has garnered acclaim from both the author and film critics.
- Set in the ’90s, the film effectively avoids modern smartphone-related plot dilemmas, enhancing its suspense and relatability.
- Director Osgood Perkins infuses his unique style into The Monkey, reflecting thematic elements commonly found in other horror films set in the ’90s.
The upcoming horror film The Monkey, adapted from a Stephen King short story, promises a blend of thrills and dark humor. This film, crafted by writer and director Osgood Perkins, is generating considerable buzz. With King personally endorsing the movie and its impressive Rotten Tomatoes rating, anticipation is mounting among fans eager to witness this adaptation.
I’ve been intrigued by the tantalizing teasers and behind-the-scenes footage released, as well as the engaging interviews with Perkins that shed light on his artistic vision.In a recent discussion, Perkins elaborated on the significance of the film’s 1990s setting, which I find particularly compelling.
The Perfect 1990s Setting for The Monkey
As reported by JoBlo, Perkins revealed in an SFX Magazine interview that the choice of a 1990s backdrop was strategic, diverging from his initial ’80s concept. He explained:
“Stranger Things kind of cornered the market on ‘It’s like movies from the ’80s, it’s like Gremlins, it’s like Spielberg!’ – and it did it so well and so successfully. Initially the movie that I wrote was set in the ’80s, with the childhood stuff in the ’50s, because that felt very Stephen King to me. But of course It already did that, and Stranger Things took that away, so we moved it to the ’90s and the present.”
I appreciate Perkins’s insight, particularly his decision to sidestep the ’80s aesthetic. While comparisons to franchises like Stranger Things and It are difficult to evade entirely, setting The Monkey in a different decade helps distinguish it. The 1990s not only elevates the film’s atmosphere—removing smartphones from the equation— but also enhances its horror potential. In modern horror films, a common question arises: “Why don’t the characters just call for help on their cell phones?” By placing the story in the ’90s, Perkins eliminates this issue, consequently amplifying the film’s tension.
Moreover, the 1990s setting resonates with many viewers, evoking nostalgia that aligns with the film’s themes. The narrative centers around twin brothers Hal and Bill Shelburn (portrayed by Theo James) reflecting on their childhood and confronting their challenging relationship with their parents. The film poignantly examines how childhood, often viewed as a joyous and innocent period, can harbor darkness and trauma. Given the widespread affection for ’90s culture and entertainment, revisiting this era through The Monkey seems both timely and endearing.
It’s also noteworthy that Perkins has established a pattern in his filmmaking, as three of his horror projects—The Blackcoat’s Daughter, Longlegs, and The Monkey—are set in the ’90s. While these films are not interconnected, a fan theory alludes to Longlegs being a potential prequel to The Blackcoat’s Daughter. Watching Perkins’s thematic evolution as a filmmaker is intriguing, especially since he has successfully stamped his creative identity on The Monkey, even as it remains faithful to King’s original story.
Insights from James Wan and Osgood Perkins
In a revealing conversation with Entertainment Weekly, producer James Wan, recognized for his work on various horror titles like Malignant, M3GAN, and Salem’s Lot, discussed Perkins’s creative vision for The Monkey. Wan expressed:
“Oz described it as the monkey on your back, literally and existentially. There is a literal monkey, a toy monkey, that’s trying to f—ing massacre everyone. At the same time, it’s a little bit of a dissection of family history and family trauma. There’s multiple levels to this story.”
These remarks suggest thematic parallels between The Monkey and Perkins’s forthcoming 2024 film Longlegs, both of which feature gory violence and characters grappling with personal tragedies. Nonetheless, Perkins has clarified the distinctions between the two movies, asserting in an interview with The Los Angeles Times:
“The Monkey is nothing like Longlegs in any way.”
With the film’s release on February 21, 2025, fans can look forward to experiencing the chaos unleashed by this sinister toy, eagerly awaiting what promises to be a captivating addition to the horror genre.
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