The Monkey (2025)

When I heard that we were getting a movie version of "The Monkey", a short story by Stephen King, I immediately tried to remember how the tale panned out. I've read a LOT of Stephen King work, including almost all of his superb short story collections, but I could not remember "The Monkey", even after being reminded of the fact that it featured in the fantastic Skeleton Crew. I somehow kept confusing it in my mind with "Chattery Teeth", a story from the enjoyable Nightmares & Dreamscapes collection.

Theo James plays twins Hal and Bill (the younger incarnations played by Christian Convery), men who have very different views on a cymbal-bashing monkey that they took possession of for a brief, but memorable, part of their childhood. Piecing things together, they eventually reached that the conclusion that the monkey would always signify the sudden death of someone close by. Hal would be happy to never see the thing again. Bill, on the other hand, thinks he might be able to make use of such a unique power.

Written and directed by Osgood Perkins, who had great success penetrating the  last year with Longlegs, this looks as if 2025 is the year that allows him to cash in on all of the goodwill he gained in 2024. While still not necessarily for every mainstream horror fan, this is easily the most accessible film that Perkins has directed. As many others have already mentioned, it's a horror comedy with a number of deaths that would easily nestle alongside those showcased in the Final Destination series.

James isn't the best choice for a leading man, but he doesn't do a bad job with his two roles. There are better moments for Convery though, and Colin O'Brien (playing Hal's son, and someone he has kept at a distance in order to keep him safe) brings a better energy to things. Tatiana Maslany is very good as the mother of the twins, and there are very entertaining cameos from Adam Scott and Elijah Wood. Rohan Campbell also has fun in a supporting role, hard to recognise underneath a hairstyle that makes him look like a member of a Ramones tribute act, and I also have to mention Sarah Levy, Perkins himself (giving himself a small role that allows him to almost steal one scene in the movie, Tess Degenstein, and Danica Dreyer.

Everything is decently put together, from the score to the gore gags, from the dialogue to the pacing of the main plot points, but what matters most is that monkey, and I'm pleased to say that it's exactly as it needs to be. Designed to somehow remain completely impassive, yet also oozing menace whenever it's onscreen, the monkey is a brilliant, and unexpectedly effective, "villain". 

Perkins cannot quite navigate the tonal dancing required, but the fact that he gives it a go shows how good his instincts are when it comes to adapting the source material, which really wouldn't work if handled with complete seriousness. The end result is a bit of a mess, but it's an entertaining mess that manages to stand out from a crowd of neater, safer, mainstream horror choices. And I don't need my entertainment to be safe and neat and tidy.

7/10

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Netflix And Chill: Operation Christmas Drop (2020)

A Christmas movie that tries to maintain that seasonal feeling while being set in a very warm and non-Christmassy environment, Operation Christmas Drop has a tougher time than most making you feel the contrast of the winter chill and the fuzzy warmth of good deeds done by good people. The fact that it comes close, and certainly delivers on the latter part of that equation, is testament to the worthwhile story at the heart of it. That's not to say that it's a great film, and it still suffers in comparison to other Christmas movies that are happy to fill the screen with tropes and shots of snow-covered landscapes, but it does much better than expected at delivering a message of festive cheer.

Kat Graham plays Erica, a young woman sent from Washington to an island Air Force base, with a mission to check the efficiency there and make any recommendations for improvements (which could ultimately lead to the closure of the base). Once there, she is placed in the care of Andrew (Alexander Ludwig) AKA CLAWS, and it's not long until she sees how things are done on the island, with everyone donating their own time and talent to maintain strong relations with the many other islands in the local area. The big focus, the tradition that got the Air Force base noticed in the first place, is the upcoming Christmas air drop, with gifts and supplies being dropped during planned flights that take place at the same time as Santa might normally be making his rounds. Congresswoman Bradford (Virginia Madsen) doesn't see this as a good use of taxpayer dollars, but Erica might eventually see enough positive repercussions from the operation to be able to persuade her that the base should be allowed to carry on doing what it has been doing so well for many years already.

As is often the case with these things, writers Gregg Rossen and Brian Sawyer have a filmography overflowing with films in this vein (well, they seem to have moved between Christmas movies and a series of "Crossword Mysteries" TV films). Inspired by the real events at Andersen Air Force base, so much so that there is a lovely little cameo for Bruce Best AKA Brother Bruce, as well as photos during the end credits alongside text describing the good work done there, Rossen and Sawyer plug a familiar formula into a plot that mixes good cheer and a celebration of the oft-overlooked humanitarian work done by military personell during times they are not in any active warzone.

Director Martin Wood, much like the writers, now has a few of these movies to his credit, as well as work on a number of TV shows (including Virgin River, which everyone seems to have dived into during the past few months), and he handles the material well enough. Without any of the usual Christmas spectacles to make use of, Wood instead makes good use of a script that keeps moving between various characters, including a very cute gekko, and easily conveys the good feeling that can come from helping others in need. Which is arguably much more in line with Christmas traditions than, for example, rushing to try and get your hands on the latest best-selling toy.

The leads are as bland and "safe" as expected, although both Graham and Ludwig become more enjoyable to spend time with as they start enjoying their time together and working more as a team. Madsen makes for an enjoyable "villain" and the rest of the supporting cast includes upbeat and sweet turns from Jeff Joseph, Janet Kidder, Trezzo Mahoro, Bethany Brown, and Rohan Campbell, as well as the aforementioned Brother Bruce.

Not the best film of this kind, but very few of them get close to the top of the tree, but it's enjoyably different. I wouldn't mind seeing other films in this vein, using Christmas as a backdrop for a story that showcases the good work done by some people year in and year out, instead of the many that seem to focus on just one season bringing about a major change in the mindset of a lead character. Let me know of any obvious titles I may have forgotten, and I'll be sure to check them out.

6/10

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Halloween Ends (2022)

If you loved Halloween Ends then you should probably just skip this review entirely. I really disliked it, although my hopes weren’t that high after also disliking Halloween Kills, and I will specify my reasons here. But before I do that, as divisive as this film has proven to be, let me say that a) I don’t dislike a film for doing something different, and b) I don’t judge any Halloween film based on the screentime for Michael Myers. A lot of people have already labelled detractors of this movie as typical genre fanboys who cannot accept change (there have been a lot of tiresome exclamations of “5cream was so right”). I am sure some viewers have their mindset stuck in that rut, but others may have valid criticisms of a film that seems to undo whatever this trilogy, and it is hard to even call it a trilogy at this point, was aiming for.

Things start well. The shadow of Michael Myers still looms large, and young Corey (Rohan Campbell) is a babysitter who finds his evening ending in the worst possible way. Skip forward by a few years, Corey is trying to get on with his life. His reputation precedes him though, sadly. Laurie Strode (Jamie Lee Curtis, as if you need reminding) had meanwhile somehow found a state of peace, helped by the fact that she is now writing down her story. Her granddaughter, Allyson (Andi Matichak), lives with her, and hangs about until she starts to become interested in Corey. Resentment burns through the young couple, a fire so strong that they wouldn’t mind seeing Haddonfield turned to ash, and Corey may be unable to contain his rage. And then there’s Michael Myers, coming perilously close to living the last of his days out as a Chris Farley character, ready to regain his energy enough for another showdown with Laurie. Because we were all shown it in the trailer, and those involved in these films pretend to be daring only until they revert to the fan-pleasing scenes they inevitably squeeze into each instalment.

The biggest problem here is a script that seems to want viewers to forget everything that we saw in the last movie. Remember the mob mentality that was immensely damaging to a town unable to heal its wounds? That’s gone. The grit and awareness of Laurie, someone who lived their life ever-ready for a battle they knew was always upcoming? Gone. Individuals defined by their encounters with the boogeyman? Yes, the leads still have that aspect, but everyone else seems to have moved on in a way that totally dismisses the past few years. Paul Brad Logan and Chris Bernier both join Danny McBride and director David Gordon Green in the writing department for this finale, but it’s difficult to pin any blame on them. This franchise “reinvigoration” has been in the hands of McBride and Green since it first started to take shape (no pun intended), and this fumbled ending shows that they never really considered how to make something consistent and cohesive.

There are some interesting choices made here, not least of which is the focus on Corey, but Green and co. are unable to commit to those choices. They don’t do right by the interesting idea at the heart of this, which should have been a study of a community making a whole new boogeyman, and subsequently waste the opportunity to also give Curtis more to do, while her character could have been the only one to see, and perhaps try to heal, the potential damage that she could see happening to someone not already beyond saving. This may have also helped to maintain a sense of the menacing presence of Myers, a character who can cause almost as much terror and tension by being offscreen as he can when on the rampage, instead of sidelining him and having his infrequent appearances feel ever so slightly patronizing.

The things that work are the things that work in every Halloween movie. Curtis, the music, and the quiet streets of Haddonfield. And I have to say that Campbell was a great choice to play Corey. Oh, and the opening title sequence is superb, and would have been even better if certain elements had been used more effectively (see last paragraph), which I do think was their initial aim. Sadly, nothing else feels good enough. There are only one or two impressive “bodycount” moments, the wild plot tangents aren’t taken far enough, and the predictable and inevitable ending is, by this point, just sadly laughable and pathetic. Poor Andi Matichak is also a negative, her flat performance not helped in the slightest by a script that asks her to do nothing more than fall very quickly for a boy who never really gives her a good enough reason to stick around and put faith in him. Which can happen in real life, I know, but it doesn’t help this movie.

Being divisive isn’t necessarily a bad thing, and many artists would prefer that you love or hate something they have done, as opposed to just sitting right in the middle, so I am still pleased to see that this has created so much discussion and passion. I have heard, and understood, people who really liked the decisions made here. I just strongly disagree, and I think this review clearly explains why I feel the way I do.

I will never bring myself to absolutely hate any Halloween movie, it is my favourite horror movie franchise (despite so few of the films being great), but this sits alongside Halloween Kills, for me, as the worst of the lot. I am glad this “era” is over, and I hope whoever has the next crack at it will take a bit more care, or at least be willing to move much further away from the comfort zone collage of nods, winks, and fan-service that we had here.

4/10

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