The Monkey, the latest film adaptation from one of hit author Stephen King’s novels, is receiving rave reviews after its first critic screenings.

Coming mere months after Salem’s Lot (based on another King novel), The Monkey is set to tell a horrifying story centered on a vintage toy monkey. This toy winds up being cursed, leading to a string of deaths unfolding around a pair of twin brothers as they have to find a way to eliminate the toy for good.

Led by Theo James, The Monkey is due to drop in theaters for the first time on February 21, marking the latest in a long list of 2025 horror outings.

First Critics Reactions to Stephen King’s The Monkey

Critics shared their first reactions to the film adaptation of Stephen King’s The Monkey following the first official press screenings.

Collider’s Perri Nemiroff called the film “a super bloody blast,” giving director Oz Perkins credit for sharing his own unique perspective on the Stephen King short story:

“‘The Monkey’ is a super bloody blast! A nearly non-stop series of gleefully violent kill scenes that well earn every ‘holy sh*t’ response they got out of me. Loved how quickly Oz Perkins cements that this is a version of the Stephen King short story that’s uniquely his own. I like some of his films more than others, but that’s something I often appreciate about his work in general. He always appears to have a clear, bold vision that’s been executed unapologetically.”

Nemiroff continued, telling fans not to compare the movie to something like Longlegs (see more on spoilers from Longlegs here). She detailed how this movie has a “particular style and energy,” which Perkins conveys to perfection:

“For anyone going straight from ‘Longlegs’ to ‘The Monkey’ and expecting more of the same, I’d let those expectations go. And that’s a good thing! As a horror lover, I can’t imagine a bigger treat than getting two movies from a filmmaker within a single year that well highlight his skills and confidence behind the lens in such drastically different ways. The Monkey rocks a *very* particular style and energy, and Perkins knew precisely how to make that vibe soar. Same goes for Theo James, Christian Convery and Tatiana Maslany. They knew exactly the type of movie they were making and don’t hold back while playing in that space.”

“The Monkey is a bloody blast,” declared critic Eric Goldman, who felt the film took “a big shift away from Longlegs” while comparing it to movies like Final Destination:

“‘The Monkey’ is a bloody blast. A big shift away from the feel of ‘Longlegs,’ the movie is a full on horror-comedy with Osgood Perkins having a ton of fun going into ‘Final Destination’ territory with one crazy-gory-twisted death after another.”

Awards Radar’s Joey Magidson thoroughly enjoyed The Monkey, describing it as “savagely funny and savagely gory” while calling it the movie that “establishes Osgood Perkins as a horror master:”

“‘The Monkey’ absolutely rules. Savagely funny and savagely gory in equal measure, it’s a bloody good time that establishes Osgood Perkins as a horror master. You’ll be howling with laughter and covering your eyes in equal measure. I loved it.”

According to The Wrap senior writer Drew Taylor, Perkins’ latest effort is “about as good a time as you can have at the movies” due to its humor and how scary it is:

“Adored ‘The Monkey.’ Oz Perkins has been one of the most exciting genre filmmakers since he started and his latest is about as good a time as you can have at the movies – funny, scary, poignant and so, so fun. A rare movie that can be compared to ‘Gremlins’ in terms of giddy chaos”

Reel Blend’s Jake Hamilton feels The Monkey will be a horror movie he watches “over and over for the rest of [his] life,” praising the horror aspect while noting he had not laughed harder at a movie in years:

“‘The Monkey’ is going to be one of those horror movies I watch over and over for the rest of my life. Dark and brutal enough so that calling it a ‘horror comedy’ feels wrong, but it’s also the hardest I’ve laughed in a movie theater in years. A new classic King adaption is born.”

Fandango’s Erik Davis praised the comedy aspects of this film, recalling it being “incredibly funny to the point people were cackling in [his] theater” while urging people to enjoy it “with a crowd:”

“2025 is all about horror out of the gate, and Oz Perkins’ ‘The Monkey’ is a very good time – incredibly funny to the point people were cackling in my theater, but also dark, gory & brutal with some amazing kills. Very different from ‘Longlegs’ – Perkins flexing his range, tonally, delivering a film that very much enjoys monkeying around. You’ll jump and yell and cover your eyes, but you’ll definitely walk out smiling. No doubt you should watch this with a crowd.”

Davis continued, heaping praise on Theo James while wishing “there was more Elijah Wood” throughout the film:

“Theo James definitely brings it, the film asks a lot of him and he delivers. Wish there was more Elijah Wood, but not saying too much because I don’t want to spoil the film.”

Horror News’ Jacob Davison echoed Davis’ sentiments telling fans to “see it with a really big crowd to laugh and scream along with,” noting how it sets the stage for a great year of movies:

“Just saw ‘The Monkey’ and it was one mean but funny as hell horror comedy and Stephen King adaptation! You’ll want to see it with a big crowd to laugh and scream along with… Really sets the tone for 2025!”

“The Monkey is Osgood Perkins’ lightest film yet,” opined Guy at the Movies’ Jeff Nelson, although he lamented the fact that its “dramatic underpinnings fall short:”

“‘The Monkey’ is Osgood Perkins’ lightest film yet, despite the heavy helping of gory monkey business. Genuinely funny when the comedy lands, but its dramatic underpinnings fall short.”

After a couple of viewings, slashfilm’s Bill Bria feels the film “keeps getting funnier” with each viewing:

“I’ve been lucky enough to see ‘The Monkey’ a couple times now, and it keeps getting funnier every time I see it. Oz Perkins shifts into a ‘Tales From the Crypt,’ ‘Creepshow’ mode by way of Morgan & Wong: a mean, grisly horror comedy riff on the impersonal fate which awaits us all.”

Describing The Monkey as “one of the most bat shit horror films” he’s seen in a long time, That Hashtag Show’s Junior Felix gave Perkins credit for going “full throttle” and bringing real consequences:

“‘The Monkey’ is one of the most Bat Shit crazy horror films I’ve seen in YEARS! Osgood Perkins goes full throttle in a demented film about facing consequences. A bloody, grizzly, hilariously bonkers film that tries to out do itself kill after kill.”

The Direct’s Russ Milheim called the new horror outing “an absolutely wild, brutal dark comedy” with creative deaths, saying that fans of Final Destination “will feel right at home:”

“‘The Monkey’ is an absolutely wild, brutal dark comedy filled with aggressively creative deaths that’ll keep audiences glued to their seats laughing the whole time. Fans of ‘Final Destination’ will feel right at home.”

Tessa Smith of Mama’s Geeky also compared The Monkey to Final Destination, describing the movie as “over the top in the very best way:”

“I can’t stop thinking about ‘The Monkey.’ It’s like ‘Final Destination’ on crack. Over the top in the very best way. I can’t wait to watch my friends watch it…”

What To Think of Strong Reviews for The Monkey

The Monkey will mark the first of a new round of horror movies coming in 2025, which is expected to be joined by movies like Five Nights at Freddy’s 2. It also has the advantage of getting to enjoy a theatrical release, which Salem’s Lot (the last King movie adaptation) did not.

While horror movies do not often perform well financially in theaters, King has a reputation as one of the great horror writers in history. With dozens of movie adaptations of books credited to him, he remains as popular a figure as any in the genre.

However, it will be challenged by heavy competition from other movies coming out close to that same release date. Most prominent from that perspective are Paddington in Peru and Captain America: Brave New World (and its popcorn buckets), both of which hit theaters one week prior to The Monkey. 

While movies of that caliber may keep The Monkey from reaching its highest potential, it should still be able to stand strong in the horror genre for those in search of a spook.

The Monkey is due to be released in theaters on February 21.

A mainstream genre film that attempts to stay relevant while reinventing conventional storytelling techniques and tropes has the potential to become a popular, memorable sculpture of its period. This doesn’t come from a complete disregard for these techniques but from understanding why they exist in the first place. Now, what does it really take for a mainstream filmmaker to acquire the deftness to play with the frameworks within its rules, and to know how to break them? I found myself asking this while watching William Goldenberg’s new sports drama.

This is a linear, against-all-odds biopic that proves, to both its merit and otherwise, why a continuous understanding of popular genre tropes is necessary for films to become edifices of their period. On the one hand, the film refuses to reinvent its tropes, and on the other, demonstrates what made great sports dramas like Rocky stand the test of time.

Let’s talk about how screenwriters Eric Champnella, Alex Harris and John Hindman take us into the world of Anthony Robles (Jharrel Jerome), a wrestling prodigy from Mesa, Philadelphia, born with one leg. Taking brevity into account, they waste no space but make a point about how this wrestler views Tom Brand, the head wrestling coach of Robles’ dream institution Iowa, and the school’s wrestling pride, Matt McDonough. This is ideal for what follows, but playing the devil’s advocate, the manner in which the opening is executed shows just about everything wrong with the film.

A still from ‘Unstoppable’
| Photo Credit:
ANACARBALLOSA

For 30-odd minutes, Unstoppable carries the spirit of some old-world YouTube motivational video with some heavy-handed, flowery quote in the background. A straightforward shot, panning from toes to torso, is how we are introduced to Robles. Working push-ups on the floor, he watches a television interview featuring Brand and McDonough, showboating the secrets to success. The camera then pans to his medals, an assembly of his single-paired shoes, and a poster of Rocky to top it.

Of course, this is the story of a spirited, disciplined sporting youth, born with one leg, living with his struggling mother, a wife-beating terror of a step-father, and their four younger children. It is expected to carry a certain uplifting, aspirational quality. But the tone Unstoppable takes is corny and sheepishly theatric. It’s more WWE (Robles once goes, “it’s [WWE] not even real”) than the real deal. Details are spoon-fed, and the condition only gets worse from here on.

How do we know of the equation he shares with his stepfather, Rich Robles (Bobby Cannavale)? Macho face-offs around the dinner table, often triggered by the dead-beat calling Anthony out on a pissing contest to declare “the real man.” How do we know how Anthony feels about his high school coach Bobby Williams (Michael Peña)? He tells us in a rudimentary, “I wouldn’t be here without him.” So is the case with Judy Robles’ (Jennifer Lopez) struggles with her toxic marriage, shown with a pedestrian dual scene on her tendency to forgive the unforgivable.

Sure, the scope to play around facts is nill when it comes to adaptations (the film is adapted from Robles’ autobiography of the same name), but the concern here is the straightforward screenplay — a stale treatment, and uninspiring staging of scenes. In two of the scenes, Robles climbs the iconic staircase of the Museum of Art, and perhaps, it was important for Philadephia homeboy Robles to pay homage to Sylvester Stallone’s Rocky, but save for the poster in his room, it is entirely irrelevant to the larger story.

On more than one occasion, the film appears short-sighted in its narrative efficacy. The film wishes to put us in Robles’ shoes when he struggles to make a life-changing decision — whether to go for Drexel University’s fully-sponsored wrestling programme or opt for another expensive college with highly competitive selection criteria. Even those unfamiliar with the real story may raise an eyebrow over how this pans out, but then the film undoes any tension with an elaborate scene with a coach who persuades Robles to take the safer options. Perhaps, a scene or two more featuring similar coaches from other colleges could have played up the anticipation.

Unstoppable claws back once Robles chooses his path, and Don Cheadle’s Shawn Charles, a new coach, comes into the scene. How the young wrestler tackles domestic issues while attempting to turn the odds against him throughout the college wrestling season shows the real potential of the story. A scene involving a hike at the Phoenix Mountains, or ones set inside Charles’ office, is just brilliant, and so are the competitively choreographed wrestling scenes, but what ends up affecting you the most are the peripheral arcs and the familial drama (a major reason is Lopez, who is excellent as a woman struggling to juggle her multiple roles).

Most sports dramas these days suffer from a lack of inspiration to reinvent the genre’s archetypes. In a biopic, the scope is less, but is it inexistent? The overall structure may be a no-go for remodelling (no points to guess which matches Robles loses or wins) but the moments in between could have brought it whole. To sum up, a really aspiring film would attempt to invent a language to tell a story millions are already familiar with. Take dialogue writing, for instance — most of the pep talks Robles gets from Williams are like pick-me-up quotes you might find on a Google search. Except for a “Your greatest opponent? Never gonna be somebody standing across from you on a mat” from Charles, nothing else sticks.

In one of the better scenes, punctuated with compelling performances, Judy shows Anthony a box of fan letters. It’s a tear-jerker. It’s organic, relevant, and wonderfully sets up what to follow. These are the moments that make you wonder how it could have been had the screenplay go through a few more drafts.

Unstoppable is currently streaming on Prime Video

Wolf Man, 2025.

Directed by Leigh Whannell.
Starring Christopher Abbott, Julia Garner, Matilda Firth, Sam Jaeger, Ben Prendergast, Benedict Hardie, Zac Chandler, Beatriz Romilly, and Milo Cawthorne.

SYNOPSIS:

A family at a remote farmhouse is attacked by an unseen animal, but as the night stretches on, the father begins to transform into something unrecognizable.

While father Grady (Sam Jaeger) and young son Blake (played by Christopher Abbott as an adult following the prologue) are hunting in the Oregon woods, his wisdom is that “dying is the easiest thing to do,” seemingly toughening his boy up mentally and physically to be prepared for anything life throws at him. That’s also a piece of philosophy from the toxic masculinity playbook, with Grady also obsessed with hunting down a man rumored to have contracted a disease resulting in animalistic characteristics, which perhaps isn’t surprising for a film titled Wolf Man.

Roughly 30 years later, Blake is a writer estranged from his father but is now a husband to journalist Charlotte (Julia Garner) and a dad to young daughter Ginger (Matilda Firth), who catches himself falling into the same easily irritable traits of his father, often flying into brief instances of yelling and mild verbal abuse whenever he feels that the latter might be putting herself in danger as a result of not listening to him.

A “spirited exchange” also shows that the love might be burning out in this marriage as Blake grumpily urges Charlotte to take an important call with her editor to another room, conflicted on how to feel upon receiving paperwork informing him that his father is officially deceased. One thing is clear: he loves his family (Ginger also reciprocates that) and wants to make the family dynamic work, perhaps out of fear that he will become estranged from them, too. There is also a question of how much of his father has bled into him and if that can be removed or corrected.

This also might sound like an excessive amount of setup for a creature feature adaptation of a classic monster but worry not, co-writer/director Leigh Whannell (penning the screenplay alongside Corbett Tuck) is efficient in establishing these characterizations and dynamics, quick to funnel the family off to a summer vacation in the Oregon woods Blake grew up in, where a wolf man attacks before they even reach his childhood home. In this suspenseful sequence that amounts to a somewhat inspired take on the otherwise clichéd set piece of a vehicle swerving off the roads and into the woods, the moving truck is left suspended in midair, held together by various tree branches and Blake desperately tries to get his wife and daughter to safety, but not before unknowingly contracting the same aforementioned animalistic disease.

Admittedly, it is undeniably apparent where this is all going, especially with a bluntly delivered central metaphor. Wolf Man is also lacking in the ferocious bite, timeliness, and general wow factor of his universally acclaimed but criminally overlooked during awards season, The Invisible Man, but is well-crafted (complete with firsthand perspectives into what Blake is seeing and hearing throughout the transformation, something that comes with exceptional animalistic and heightened sound design distorting dialogue and audio from household appliances, bugs crawling along the walls, and more.)

The transformation aspect, yielding strong work from Christopher Abbott regarding both physicality and emoting, also boasts some truly impressive practical effects and makeup, playing into a humanized concept. Matilda Firth is also a newcomer highlight, terrified of what’s happening to her father but holding onto that love. There are tender moments here that are naturally cut short for more body horror, effectively working in tandem. It’s a film taking its premise seriously and dramatically but with enough sincerity and visual skill to pull that off. There are also gnarly one-and-one wolf-man battles, so the film delivers what’s to be expected.

103 minutes is a standard running time, but Wolf Man moves fast, functioning as tense theme park horror with solid thematic storytelling and such relentless pacing that it only feels like an hour long. The one downside to that is that, early on, some of that characterization comes to a halt and isn’t developed any further. Some of that nuts and bolts minimalism is appreciated; the film is simultaneously restrained yet embraces its genre roots to gnarly effect with heart at its core.

Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★

Robert Kojder is a member of the Chicago Film Critics Association, Critics Choice Association, and Online Film Critics Society. He is also the Flickering Myth Reviews Editor. Check here for new reviews and follow my BlueSky or Letterboxd