“The monkey” wants to remind you that death is coming to all of us, as if we did not really know that

Are you thinking about death a lot? Are you afraid of him? Do you affect your life and options? Are you easily sad? Have you reached a close contact with death? Do you think about how you want to die? Did your life go in front of your eyes? Are there things you want to do before you die? Do you owe anyone an apology? Who will make you the most sad death? What do you want people to remember you after you go?

These are some of Osgood perkins Lobs on viewers in his new movie “The Monkey”. They are also questions you were more likely to think after chewing on the Silica gels package that comes in a bag of spaming beef than you were while watching “The Monkey”. For a positively obsessed movie with death, the latest feature of Berkins, adapted from a short story by Stephen King, has a very little to say about our disappearance other than commenting on his inevitability. A series of complex serials, on the film, encouraged the unexpected and unfair nature of death. At other times, the real characters spit on viewers more clearly. “Everyone dies and absorbs” is often repeated throughout the film so that it begins to appear like the prayer of serenity more than an explicit talisman. (More clear version of this phrase is also the film’s description line.)

Yes, death is inevitable – a lot has been engraved in our awareness in particular in the first few weeks of 2025 alone. Disappointment, however, is not very certain. However, it is disappointed to most often serve Perkins in “The Monkey”, wandering from every open opportunity to display depth and humanity in favor of humor events and the total drains. Given that Perkins remains new to the success of his excellent movie “Longlegs”, the frustration is only enlarged. At the end, the writer and central director of the strange objective abyss he explored in a surprise last summer to swim to the surface and stay there, in an attempt to laugh or two while holding his breath. As long as jokes are funny, there is a large space for humor in terror. But writing the scattered movie leaves its lines that hit the dead air before falling on the floor. For a movie that begins with slow and painful death from his first action, his attempts to heat our fear of death are useless.

This is also one of the most blatant mistakes in the movie: “The Monkey” is certain that humans do not think enough to die as it is, and that we are the fact that it surrounds everything we do. This may be a state of bad time, as the film strikes theaters when the planes fall from the sky. (A snapshot in the film that depicts this matter is especially anxious given the circumstances). But Perkins jumps so quickly from outrageous death to the point that its scenario leaves a small room to promote in a continuous fatal sermon. We forget to get to know a personality, or build sympathy to connect one of the viewers to the person watching on the screen. The fact that we will all die is not a good excuse enough to write characters that do not serve any other purpose other than parrot of the same satirical agenda. This type of kind writing keeps the viewer at the length of the arm; Not only are they separate but bored, regardless of the extent of excessive deaths or bloody on the screen.

But for those who are only interested in injustice in this extended movie, the massacre begins early and rarely leaves it. In 1999, Captain Betty Shilborn (Adam Scott, in one of the handful of the movie that raises more than it ultimately deserves) is trying to return a game monkey to a new store. Betty explains that as soon as the wind switch is operated on the back of the monkey and the prines begin to hit his small drum, a close person is “completely”. Infidely, the seller behind the meter becomes the only death in a strange fugitive pistol accident more than disgusting than I give it. Perkins finds stable when “The Monkey” tends to the utmost humor and humor to raise this brutality. Unfortunately, he never went further with the circumstantial death privileges, for example, “the final destination” or “the saw”, leaving the scenes of death unequal regardless of an unforgettable couple. Come to Rube Goldberg machines, leave a feeling like a robe.

Monkey (with the permission of the neon

The witness to most of these deaths is the son of my house, Hull Shelborn (Theo James), who discovered the hatred of the monkey as a child when he found it immersed between the garbage that his separate father left. Hull and his twin brother Bell (who played his role as a child by Christian Converteri) got a direct look at what this unpredictable game can do for their loved ones after a few fateful winds. Knowing that the monkey will only continue to kill, they threw a dry well, only to re -enter their lives after 25 years.

Now, the brothers have not seen each other for decades. Bell fell from the network, while Hull still lives and operates near the city where they grew up. Even Hull has his own son (Colin Operen), after his father, who sees him only one week in the year fear that events that cannot be explained in his childhood will work in one way or another on my home. When a Hull week rolls with his son, he receives a notice that an old family member has incurred a horrific death that includes hunting hunting and natural gas hooks and a real estate broker mark in its front courtyard. It is very ridiculous to be anything but the dreaded monkey.

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Since the monkey has linked his evil to his family in one way or another, Hull knows that his next step is to track his brother, if only to determine that the bill is safe. This represents an opportunity to chase the wild goat, full of death, destruction and blood bucket. Instead, Perkins chooses something more complicated, mixed in the dead end that appears to be heading in a new, exciting direction before it completely descends. Sometimes, a piece of snapshot or group will appear completely with the rest of the movie, leaving the scenes to scratch his head and wonder about the point. The shoe equipment for these random gaps in the movie without any additional context to demonstrate in the sense of it, Perkins seems to do so strange for strangeness. There is much more than that “what was truly hell” is a muffled laugh from the loud abdominal laughter.

For example, in the wake of a prominent death, a group of local fans awaits nearby, responded to excitement when seeing a corpse. One can read this strange and strange scenery in Berkins attempt to send our Macabre installation with death, and rubber in the heinous landmarks that we must want to stay away from. But “The Monkey” has already been established in this phenomenon to the extent that the borrowing of strange encouragement reads like a joke that does not land – not completely with all other masks that meet with a similar fate. Some other shots are so heterogeneous that they are less similar to jokes and more like editing errors, making the film really difficult in points. This will be easily clear if the “monkey” has a more central narration, but Perkins chooses to embody the king’s source in the spirit of humor on an additional plot, and the whole film is weaker for it.

Since the “monkey” arrives shortly after “Longlegs”, it is difficult not to compare the two. “Longlegs” had an original scenario written by Berkins, and while the film was inspired by “Silence of Lambers”, Berkins was announced to use barbed topics to build a distinctive framework full of panic. “Longlegs” had a lot in his minds, from how humans made religion to sexual assault and the way the shock played with memory – not to mention a lot of diabetic. With “The Monkey”, Perkins seems to be interested in the other direction, as it has become much more literal as it is depicted by the ability of humanity on evil. Perkins has to speak About taking freedoms with the story, bringing his prominent experiences with terrible death, “put the title”. (His father, actor Anthony Perkins, died, due to complications with AIDS, while his mother, Perry Perneson, died in the September 11 attacks) Everyone; Sometimes it is clean and easy, at other times, a person is refuted with wild horses.

But by removing the personality of death and making it in a scene by heart, Perkins loses any heart that can give his movie an echo that he strongly needs. Unlike similar privileges facing the inevitability of death, the “monkey” approaches this certainty while ignoring. “We will all die, so we may get used to it” we may have a level of truth, but these messages are completely intuitive for a separate world already. Certainly, we will all die. But just because it is destined, it does not mean that it is still very sad. This depression provides a superior difference to our lives, which prevents them from being meaningless in the face of confirmed genocide. Without clarifying these necessary precise details, “The Monkey” has no more value than the comfort of the family’s friend who only came to free food.