Come to think of it, Osgood Perkins II has always been low-key horror royalty. His father, Anthony Perkins, is forever etched in memory as Norman Bates from Alfred Hitchcock’s Psycho (1960). In fact, Oz’s first role was in the 1983 belated sequel, where he played the young version of his dad’s legendary alter-ego. And, while he seemed fated to etch a different path, with bit roles in Six Degrees of Separation, Legally Blonde, and Not Another Teen Movie, he was bound to cross over to the scare genre, one way or the other. Sure, his 2015 directorial debut, The Blackcoat’s Daughter, caught next to zero buzz, but it was 2024’s Longlegs that had audiences talking (and trembling). From there, there was hardly any doubt that he would return. And return he did with this campy-fun retelling of Stephen King’s The Monkey.

This isn’t the first onscreen treatment of the 1980 short story, itself a loose reimagining of W.W. Jacobs’ The Monkey’s Paw. Just two years ago, there was already an attempt – an hour-long adaptation directed by Spencer Sherry and produced under King’s defunct Dollar Baby deal. It’s hard to think of anyone but Perkins taking on this dark comedic take. Here, he took major liberties, like starting in flashback and putting more emphasis on toxic family dynamics. A drum is also the cursed toy’s new instrument of choice, since Toy Story 3 featured a similar cymbal-wielding side character. Pixar wouldn’t want anything diabolical among its plaything posse. 

This version now centers on clashing twins Hal and Bill, played by Theo James in an effective dual role. Apart from that, the central premise remains. The protagonists stumble upon the toy, which wreaks murderous havoc when used. As they grow up estranged, the toy only keeps resurfacing, causing more and more gruesome deaths in the same vein as Final Destination or even The Omen. It’s no surprise, with James Wan of Saw fame on board as co-producer. It’s worth noting that the toy, though operated by wind-up key, now seems capable of independent thought, which makes this version more frightening.  

Subtlety is the last thing you’ll expect in this bloody incarnation, which also manages to save room for laughs. Perkins sure lets loose with the body count – even when things seem to go peachy keen and relationships seemingly improve. As the film ends with a nod to the Bible’s final book, the grim undertones remain. It’s almost always the case in horror flicks. We’re either set up for one big final scare or, in select cases, a sequel which may or may not materialize. Yet even with no resolutions guaranteed, the film doesn’t fail to satisfy. It ultimately bodes well for Perkins. Clearly, he’s on a roll.