Movie Reviews

Stephen King's Wild New Horror Movie Is Getting Very Strong Reviews

Published

1 year ago

January 20, 2025

Stephen King's Wild New Horror Movie Is Getting Very Strong Reviews

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

NEON

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.

Related Topics:comedy First Reactions horror

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Movie Reviews

Maxime Giroux – ‘In Cold Light’ movie review

Published

5 hours ago

March 4, 2026

Press Room

Maxime Giroux – ‘In Cold Light’ movie review

(Credits: Far Out / Elevation Pictures)

Wed 4 March 2026 9:30, UK

Maxime Giroux – ‘In Cold Light’

The action is relentless in the complex thriller In Cold Light, a tense combination of crime and fugitive tale and family drama. It is the third feature and first English language film by Maxime Giroux, best known for a very different kind of film, the critically acclaimed 2014 drama Felix & Meira.

The tension and high energy of In Cold Light almost overwhelm the film, but are relieved, barely, by moments of character development and introspection that keep the audience pulling for the restrained and outwardly cold main character.

Speaking at the film’s Canadian premiere, director Giroux admitted he found creating an action film a challenge. Part of his approach was using very minimal dialogue, especially for the central character, letting the action speak for itself, and allowing silence to intensify suspense. Giroux has said he likes the lack of dialogue and speaks highly of the importance of silence in cinema; he prefers using “physical aspects of communication” in his films.

Young Ava Bly (Maika Monroe) is a competent and businesslike drug dealer, working in partnership with her brother Tom (Jesse Irving) and a small team. As the film begins, Ava has just been released from a brief prison sentence. She is hoping to return to her former position, but her brother’s associates consider her a risk due to her recent incarceration. While she works to re-establish herself, a shocking encounter with a corrupt police officer sends Ava’s life into chaos and forces her to go on the run.

Ava’s fugitive experience introduces a new character, to whom Ava turns for help: her father, Will Bly, played by Troy Kotsur, known for his excellent performance in CODA. Their first interaction is handled in a fascinating way, as Will is deaf and the two communicate through sign language. This, of course, provides another form of the silent interaction the director prefers; he explained that much of the father-daughter interaction was rewritten with the actor in mind. Their conflict is nicely expressed through a scene in which their initial conversation is intermittently cut off by a faulty light which goes out periodically, making communication through sign momentarily impossible, nicely expressing the rift between father and daughter.

As Ava continues to evade danger, her escape becomes complicated by new information, placing her in a painful dilemma. We gradually learn more about Ava, her background, and her character through occasional flashbacks and glimpses of her dreams. The plot becomes more complex and more poignant, and gains features of a mystery as well as an action tale, as she is pressed to choose from among equally unacceptable alternatives.

The climax of her efforts to protect both herself and those close to her comes to a head as she meets with the director of a rival drug gang. Veteran actress Helen Hunt is perfect in the minor but significant role of Claire, the rival drug lord, who plays odd mind games with Ava in an intriguing psychological fencing match. It’s an unusual scene, in which Ava’s personality is made clearer, and Claire’s understated dominance and casual speech do not quite conceal the threat she represents.

The frantic pace and emotional turmoil are enhanced by the camera work, which tends to focus tightly on Ava, and by a harsh, minimal musical score that sets the tone without distracting from the action. Giroux chose to shoot the film in Super 60; he describes digital as “too perfect” for the look he was going for, and since “Ava is rough,” the film portrays her better. The director describes the entire movie as “rough,” in fact, and deliberately chose a dark, washed-out look for much of the footage, occasionally using light and colour, in the form of fireworks, lightning, or a colourful carnival, to both relieve and emphasise the darkness.

The dynamic, intense story holds the attention in spite of the lengthy, sometimes repetitive chase scenes and subdued dialogue. Ava’s predicament, and the difficult decisions she is forced to make, are made surprisingly relatable, from the initial disaster that starts the action to the surprising flash-forward that concludes the film, on as high a note as the situation could allow. Fans of action movies will definitely enjoy this one.

Movie Reviews

Jeremy Schuetze’s ‘ANACORETA’ (2022) – Movie Review – PopHorror

Published

17 hours ago

March 4, 2026

Press Room

Jeremy Schuetze’s ‘ANACORETA’ (2022) – Movie Review – PopHorror

PopHorror had the chance to check out Anacoreta (2022) ahead of its streaming release! Does this meta-horror flick provide interesting story telling or is it a confusing mess.

Let’s have a look…

Synopsis

A group of friends heads to a secluded woodland cabin for a weekend getaway, planning to film an experimental horror movie. As the shoot progresses, the project begins to fall apart—until a real and terrifying presence emerges from the darkness.

Anacoreta is directed by Jeremy Schuetze. It was written by Jeremy Schuetze and Matt Visser. The film stars Antonia Thomas (Bagman 2024), Jesse Stanley (Raf 2019), Jeremy Schuetze (Jennifer’s Body 2009), and Matt Visser (A Lot Like Christmas 2021)

My Thoughts

Antonia Thomas delivered an outstanding performance as the female lead in Anacoreta. It was remarkable to watch her convey such a wide range of emotions with authenticity and depth. I was continually impressed by her ability to switch seamlessly between different dialects. I absolutely loved her delivery of the dialogue of telling The Scorpion and the Frog fable.

Anacoreta employs a distinctive, meta-horror style of storytelling. The narrative follows a group of friends creating a “scripted reality” horror film, and as the plot unfolds, the boundary between their staged production and their actual lives becomes increasingly blurred. This was interesting, but at the same time frustrating as a viewer.

Check out Anacoreta on Prime Video and let us know your thoughts!

Movie Reviews

‘Hoppers’ review: Pixar’s best original movie in years

Published

1 day ago

March 3, 2026

Press Room

‘Hoppers’ review: Pixar’s best original movie in years

“So it’s like Avatar?” one character quips in Disney and Pixar’s “Hoppers,” bluntly translating the film’s high-concept premise for the sugar-fueled kids in the audience. And yes, the comparison is apt. The story follows a nature-obsessed teenage girl who manages to quite literally “hop” her consciousness into the body of a robotic beaver in order to spark an animal rebellion against a greedy mayor determined to bulldoze their forest for a freeway.

It’s a clever hook. The kind of big, elastic idea Pixar used to make look effortless. “Hoppers” does not reach the rarified air of “Up,” “Wall-E,” or “Inside Out,” but after a stretch of uneven originals like “Turning Red” and “Luca,” and outright misfires such as “Elemental” and “Elio,” this feels like a genuine course correction. The environmental messaging is clear without being preachy, the animals are irresistibly anthropomorphized, and the studio’s once-signature emotional sincerity is back in sturdy form.

Pixar can afford to gamble on originals when it has a guaranteed cash cow like this summer’s “Toy Story 5” waiting in the wings, but “Hoppers” earns its place in the catalogue. Director Daniel Chong crafts a warm, heartfelt film that occasionally strains under the weight of its own ambition, yet remains grounded by character and theme. Its meditation on conservation and animal displacement feels timely in a way that never tips into after-school-special territory.

We meet Mabel, voiced with bright conviction by Piper Curda, as a child liberating her classroom pets and returning them to the wild. Her moral compass is shaped by her grandmother, voiced by Karen Huie, who imparts wisdom about nature’s sanctity. True to both Pixar tradition and the broader Disney playbook, this beacon of guidance does not survive past the opening act. Loss, after all, is Pixar’s favorite inciting incident.

Years later, Mabel is still fighting the good fight, squaring off against the smarmy Mayor Jerry, voiced with slick menace by Jon Hamm. He plans to flatten the glade where Mabel and her grandmother once found solace. Mabel’s resistance feels noble but futile. The animals have already mysteriously vanished, the machinery is coming, and her last-ditch plan involves luring a beaver back to the abandoned forest in hopes of jumpstarting the ecosystem.

That’s when the film gleefully pivots into mad-scientist territory. At Beaverton University, Mabel discovers her professor, voiced by Kathy Najimy, has developed a device that can project human consciousness into synthetic animals. The process, dubbed “hopping,” allows Mabel to inhabit a robotic beaver and infiltrate the forest from within. It’s an inspired escalation that keeps the film buoyant even when the plotting grows predictable.

Her new posse includes King George, a lovably beaver voiced by Bobby Moynihan with distinct Bing Bong energy; a sharp-tongued bear voiced by Melissa Villaseñor; a regal bird king voiced by the late Isiah Whitlock Jr.; and a fish queen voiced by Ego Nwodim. As is often the case with Pixar, even in its lesser efforts, the world-building is meticulous. The animal hierarchy, complete with titles like “paw of the king,” is layered with jokes that play for kids while slyly winking at adults.

The plot ultimately follows a familiar template. Scrappy underdog rallies community. Corporate villain twirls metaphorical mustache. Emotional third-act sacrifice looms. At times, you can feel the machinery working a little too cleanly. Pixar, and Disney at large, has grown increasingly reliant on sequels and established IP, and “Hoppers” does not radically reinvent the wheel. In an animated landscape where films like “K-Pop: Demon Hunters,” “Across the Spider-Verse,” and “Goat” are pushing stylistic and narrative boundaries, being safe and sturdy may not always be enough.

And yet, there is something refreshing about a Pixar original that remembers how to tug at the heart without squeezing it dry. “Hoppers” is playful, peppered with cheeky needle drops, and builds to a sweet emotional catharsis that may or may not have left this critic a little misty-eyed. It feels earnest and engaged.

“Hoppers” may not be top-tier Pixar. But it is a welcome return to form, a reminder that the studio still knows how to marry big ideas with a bigger heart.

HOPPERS opens in theaters Friday, March 6th.