Thursday, March 6, 2025
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Wizard Actor Has Another Digital Comics Role – Featured Slideshow Post

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“Simon Doe has his tongue planted in his cheek as he describes the
fictional skills of his advancing agent.”

Steve Kowalsky

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Check out the trailer and poster for The Rule of Jenny Pen

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Get ready for a spine-tingling psychological horror experience with the new trailer and poster for THE RULE OF JENNY PEN, starring John Lithgow and Geoffrey Rush. This twisted film promises to take you on a dark journey into the disturbing world of a retirement home gone rogue.

What is The Rule of Jenny Pen?

In THE RULE OF JENNY PEN, arrogant Judge Stefan Mortensen (Geoffrey Rush) suffers a near-fatal stroke that leaves him partially paralyzed and confined to a retirement home. Isolated and resistant to the staff’s care, Mortensen soon clashes with his seemingly gentle roommate, Dave Crealy (John Lithgow). However, behind Crealy’s benign facade lies a sadistic nature—he terrorizes the home by orchestrating a sinister game called “The Rule of Jenny Pen,” using his dementia doll as an instrument of cruelty. What starts as childish torment rapidly escalates into a far more disturbing and sinister struggle, forcing Mortensen to take drastic action when his pleas for help go unanswered.

Check out the trailer and poster for The Rule of Jenny Pen 1

Final Thoughts

With powerhouse performances from Geoffrey Rush and John Lithgow, THE RULE OF JENNY PEN promises to be a chilling psychological horror film that blurs the lines between reality and nightmare. Don’t miss the new trailer and poster—prepare for a descent into madness that will leave you questioning what lies behind every closed door.

Asian Persuasion is going to theaters on March 21st

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Scatena & Rosner Films is proud to announce the North American release of the romantic comedy ASIAN PERSUASION, directed by Grammy and Tony Award-winning Jhett Tolentino, written by Mike Ang, and starring Dante Basco (Hook) and KC Concepcion (Boy Golden: Shoot to Kill). In partnership with Seismic Releasing, the film will open theatrically on March 21 in major markets including Los Angeles, Seattle, Houston, Dallas, San Francisco, Las Vegas, Chicago, Toronto, Honolulu, and Washington D.C., followed by a VOD and digital release on May 27.

What is Asian Persuasion?

ASIAN PERSUASION is a witty, heartfelt exploration of love, relationships, and second chances. The film tells the story of a lovable underachiever who concocts a hilarious and outrageous scheme to avoid paying alimony to his fashion-executive ex-wife. Blending humor, drama, and romance, the film offers unique cultural insights and charming performances that are sure to capture the hearts of rom-com fans.

Asian Persuasion is going to theaters on March 21st 3

Final Thoughts

ASIAN PERSUASION promises to be an entertaining and culturally rich romantic comedy that redefines familiar themes with wit and heart. Mark your calendars for its theatrical debut on March 21, followed by its digital release on May 27, and get ready to experience a film that not only entertains but also inspires.

A Minecraft Movie has tickets now available to buy at Fandango at Home

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Tickets for A Minecraft Movie are now on sale on Fandango! The film hits theaters on Friday, April 4th, inviting you to fully immerse yourself in the big, blocky world inspired by the bestselling video game of all time.

There’s a Minecraft Movie?

Get ready to step into the vibrant and expansive universe of Minecraft. A Minecraft Movie brings the iconic, pixelated world to life on the big screen, promising a cinematic adventure that captures the creativity and spirit of the game.

A Minecraft Movie has tickets now available to buy at Fandango at Home 5

Special Offers and Add-Ons

To boost excitement ahead of the release, Fandango is offering the Overworld Explorer Pack. This exclusive bundle includes:

  • A ticket to A Minecraft Movie
  • A Collectible Creeper Popcorn Bucket
    All for just $45!

Additionally, as part of today’s launch, fans in the US who purchase tickets through Fandango will receive access to an exclusive in-game jetpack add-on for Minecraft: Bedrock Edition. This limited-time offer is the perfect bonus for gamers and movie lovers alike.

Support a Great Cause

Remember to use Fandango’s new Round-Up feature when purchasing your tickets. Round up your total to the nearest dollar, and donate the difference to support the Boys & Girls Clubs of America—helping empower youth and enhance moviegoing experiences for members.

A Minecraft Movie has tickets now available to buy at Fandango at Home 7

Final Thoughts

Don’t miss your chance to experience A Minecraft Movie in theaters on April 4th. With special offers that blend the excitement of the game with the magic of cinema, this event is a must for fans and families. Buy your tickets on Fandango today and get ready to explore the Overworld like never before!

March 2025 streaming at Arrow!

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Get ready for a month of spine-tingling suspense, seedy underworld adventures, and genre-defining classics. ARROW is set to deliver a meticulously curated lineup of cult, horror, giallo, and exploitation films throughout March 2025, exclusively for subscribers.


March 3 – Spring Begins

  • Play It Cool (UK/IE/US/CAN):
    A chic, erotically charged drama starring Mari Atsumi, directed by Yasuzō Masumura. This little-seen gem from one of Japan’s most esteemed 1960s directors marks the perfect kickoff to the new season.

March 7 – Underworld Unleashed

Three thrilling features exclusively for U.S. subscribers:

  • Violent Panic: The Big Crash (US):
    Expert bank-robber Takashi plans the heist of a lifetime but finds his getaway in shambles as a chaotic manhunt ensues.
  • Heroes Shed No Tears (US):
    Eddy Ko leads an elite Chinese commando force on a high-stakes mission against a Golden Triangle drug lord, culminating in a desperate dash to the Thai border.
  • Robocop (TV Series, 1994) (US):
    Follow cybernetic cop Alex Murphy as he tackles crime and corporate conspiracies in a near-future Old Detroit.

March 10 – Haunted Horizons

  • I Will Never Leave You Alone (UK/IE/US/CAN):
    Writer/director DW Medoff crafts an innovative haunted house tale. After being released from prison, Richard must spend six days in a dilapidated house to cleanse it of evil spirits—but sinister forces from his past threaten to plunge him into madness.

March 14 – Ghosts & Ghouls

Most Haunted (UK/US/CA/IRE)

A collection of cult films showcasing our most ghost-infested homes, including:

  • I Will Never Leave You Alone
  • A Ghost Waits
  • Double Face

Murder, Mayhem & Magic

  • Body Count (US):
    New Orleans cops chase ruthless assassins out for revenge.
  • Mirror Mirror (UK/IE/US/CAN):
    A teenage girl gains dark, magical powers through an antique mirror dripping blood.
  • Mirror Mirror 2: Raven Dance (US):
    A demon mirror sets off a series of deadly “accidents” that ensnare a young sibling duo in a web of evil.

March 2025 streaming at Arrow! 9

March 21 – Winter’s Dark Embrace

When winter melts away and death blooms:

  • Blood Theatre (UK/IE/US/CAN):
    A reopened, cursed movie house reenacts its bloody past.
  • Mausoleum (UK/IE/US/CAN):
    A 10-year-old mourning her mother becomes possessed by a centuries-old demon from her female ancestors.
  • Slaughterhouse (UK/IE/US/CAN):
    In a desperate bid to save his family’s property, a slaughterhouse owner sends his troubled son on a violent rampage.

Also on March 21, Kevin Kölsch and Dennis Widmyer Selects (UK/US/CA/IRE) deliver a curated collection featuring cult favorites like:

  • The Gore Gore Girls
  • My Sweet Satan
  • Deadbeat at Dawn

March 24 – Fulci’s Giallo Masterpiece

  • Don’t Torture a Duckling (4K) (UK/IE/US/CAN):
    Lucio Fulci’s chilling giallo thriller returns in stunning 4K. In a rural village gripped by panic after young boys begin disappearing, a journalist and a rich, defiant woman join forces to unravel a murderous mystery that delves deep into superstitions and vengeance.

March 28 – Samurai Showdown

Cross blades with:

  • Samurai Wolf (US):
    Isao Natsuyagi stars as Kiba, a charismatic ronin caught in a treacherous town conflict, dispatching highway criminals and aiding a blind local shipping magnate. Directed by Hideo Gosha, this film is a lean triumph of samurai cinema.
  • Samurai Wolf II (US):
    Kiba returns, embroiled in a tangled web of intrigue with a crooked goldmine owner, a cynical swordsman, and an arrogant dojo master—another masterful display by Hideo Gosha.

March 31 – The Ultimate Revenge

Close out the month with a double feature:

  • I Spit On Your Grave (US/CAN):
    An aspiring writer takes brutal revenge on the attackers who assaulted her, in a tale of unyielding retribution.
  • I Spit On Your Grave: Déjà Vu (US/CAN):
    After penning a bestselling account of her ordeal, the same writer faces backlash from the relatives of her victims, setting off a deadly cycle of revenge.

ARROW Platform Details

  • Subscriptions: $6.99 monthly or $69.99 yearly
  • Available On:
    • Roku
    • Apple TV & iOS devices
    • Samsung TVs
    • Android TV and mobile devices
    • Fire TV
    • All web browsers at arrow-player.com

With a sleek, user-friendly interface and an unparalleled roster of cult, horror, giallo, and exploitation films, ARROW is your ultimate destination for on-demand entertainment.

Why are the Yellowjackets cast making Friendship Bracelets?

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Tune in for an exclusive look behind the scenes with the cast of Yellowjackets in the latest installment of BuzzFeed Celeb: Makes. This exciting segment drops on Tuesday, February 28, exclusively on YouTube under the title Yellowjackets Cast Makes Friendship Bracelets.

Segment Overview

In this candid interview, the Yellowjackets cast shares fresh insights and funny stories in anticipation of Season 3. The conversation covers everything from first off-screen impressions and the wildest filming moments to the quirky dynamics of their on-set friendships—like pretending to “eat” a friend on screen and which cast member blows up the group chat the most.

Interview Highlights

  • First Off-Screen Friendship:
    At 1:40, the cast reflects on how they discovered they were more than just colleagues during the summer of 2021, when pandemic restrictions forced them to become each other’s family on set.
  • Wildest Filming Moment:
    At 4:36, they recall a surreal scene from Season 2—“Eating Jackie”—which left many feeling like they were in an out-of-body experience and had to recover with a massage afterward.
  • Favorite On-Set Memory:
    At 7:51, one memorable moment stands out: the infamous “death parties” during night shoots at 5 a.m., where the energized, unhinged vibes brought the cast closer together.

Additional questions explored include:

  • First impressions of one another
  • Fanfiction scenarios featuring show characters
  • The wildest fan theories about the show
  • Ranking each other on dating advice and trustworthiness with secrets
  • And even a fun, quirky question: “If I were a worm, would you still love me?”
Why are the Yellowjackets cast making Friendship Bracelets? 11
PHOTO: BuzzFeed Celeb  

Viewing Details

Watch the full interview on YouTube by searching for Yellowjackets Cast Makes Friendship Bracelets. Don’t miss this unique opportunity to get personal, laugh, and connect with the talented cast of Yellowjackets as they share behind-the-scenes anecdotes and their close-knit bond.

Final Thoughts

Whether you’re a longtime fan or a newcomer to Yellowjackets, this BuzzFeed Celeb: Makes segment is your chance to dive into the fun, authentic, and sometimes absurd moments that make the show so beloved. Grab your popcorn, settle in, and enjoy the unfiltered camaraderie of the Yellowjackets cast as they reminisce, laugh, and reveal the real stories behind the drama.

Pluto TV goes Python!

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Pluto TV, the leading free streaming television service, will be the exclusive home this February for the iconic, comic masterpieces of Monty Python. This special streaming event features the beloved films Monty Python’s Life of Brian (1979), Monty Python Live at the Hollywood Bowl (1982), Monty Python and the Holy Grail (1975)—marking its 50th anniversary in 2025—and the landmark sketch comedy series Monty Python’s Flying Circus (1969-1974), all lovingly restored and presented in full HD.

Monty Python Film and Series Overview

Monty Python’s genius in absurdity and satirical brilliance has shaped comedy for generations. Now, Pluto TV offers audiences the chance to stream these timeless classics completely free during February 2025. Available both on-demand and across dedicated channels like the new Sketchy AF channel and British Comedy, these titles are set to entertain lifelong fans and newcomers alike.

  • Monty Python’s Life of Brian: A notorious religious satire that follows the misadventures of Brian, a reluctant messiah, in a series of absurdly hilarious circumstances.
  • Monty Python Live at the Hollywood Bowl: An electrifying performance capturing the troupe’s live energy and irreverent humor.
  • Monty Python and the Holy Grail: A hysterical, historical tour-de-force loosely based on the legend of King Arthur, which became the highest-grossing British film in the US upon its release.
  • Monty Python’s Flying Circus: The original surreal sketch comedy series that redefined British television and continues to be a cultural touchstone.
Pluto TV goes Python! 13

Partnership and Industry Impact

These Monty Python classics have been acquired by Shout! Studios streaming service Shout! TV, a prominent leader in FAST programming and digital content, and are now streaming exclusively on Pluto TV.

“We’re thrilled to distribute these comic masterpieces and to have Pluto as a partner to feature and promote this timeless and sought-after content,” said Julie Dansker, SVP of Streaming and Content Strategy at Shout! Studios.

“Monty Python’s timeless wit and absurd brilliance have shaped comedy for generations, and now Pluto TV audiences can enjoy their iconic films and series for free on our new Sketchy AF channel,” added Kevin Sullivan, VP Content Partnerships at Pluto TV.

Final Thoughts

With their dry humor and ingenious satire, the Monty Python films and series are not just relics of a bygone era—they remain vibrant and endlessly entertaining. Whether you’re a devoted fan of the Python legacy or experiencing their irreverent magic for the first time, Pluto TV’s exclusive streaming event this February makes these classics more accessible than ever. Prepare to laugh, reminisce, and rediscover why Monty Python continues to be a cornerstone of modern comedy.

Enjoy the Oscars tonight with Fandango at Home

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It’s time to roll out the red carpet—Hollywood’s biggest night is almost here! The 2025 Academy Awards have arrived, and Fandango at Home is your one-stop destination to catch up on all the nominated titles available to stream.

Available Now on Fandango at Home

Fandango at Home has a dedicated Oscar Nominees storefront where you can watch many of this year’s contenders. Highlights include:

  • The Brutalist – A Certified Fresh film on sale for $19.99
  • A Complete Unknown – Rated Certified Fresh and Verified Hot on Rotten Tomatoes; available to purchase for $29.99 or rent for $24.99
Enjoy the Oscars tonight with Fandango at Home 15

Lock In Your Oscar Predictions

Ready to play along? Rotten Tomatoes has released their 2025 Oscars Ballot, featuring Tomatometer and Popcornmeter scores, so you and your friends can predict the winners during the 97th annual Academy Awards ceremony. Print or download your Oscar ballot today and join the conversation!

2025 Oscar Nominees Available on Fandango at Home

  • ANORA – Nominated for Best Picture, Best Director (Sean Baker), Best Actress in a Leading Role (Mikey Madison), Best Actor in a Supporting Role (Yura Borisov), Best Original Screenplay
  • A COMPLETE UNKNOWN – Nominated for Best Picture, Best Director (James Mangold), Best Actor in a Leading Role (Timothée Chalamet), Best Actor in a Supporting Role (Edward Norton), Best Actress in a Supporting Role (Monica Barbaro), Best Adapted Screenplay
  • THE APPRENTICE – Nominated for Best Actor in a Leading Role (Sebastian Stan), Best Actor in a Supporting Role (Jeremy Strong)
  • THE BRUTALIST – Nominated for Best Picture, Best Director (Brady Corbet), Best Actor in a Leading Role (Adrien Brody), Best Actor in a Supporting Role (Guy Pearce), Best Actress in a Supporting Role (Felicity Jones), Best Original Screenplay
  • CONCLAVE – Nominated for Best Picture, Best Actor in a Leading Role (Ralph Fiennes), Best Actress in a Supporting Role (Isabella Rossellini), Best Adapted Screenplay
  • DUNE: PART TWO – Nominated for Best Picture
  • FLOW – Nominated for Best Animated Feature Film, Best International Feature Film
  • I’M STILL HERE – Nominated for Best Picture, Best Actress in a Leading Role (Fernanda Torres)
  • INSIDE OUT 2 – Nominated for Best Animated Feature Film
  • MEMOIR OF A SNAIL – Nominated for Best Animated Feature Film
  • NICKEL BOYS – Nominated for Best Picture, Best Adapted Screenplay
  • A REAL PAIN – Nominated for Best Actor in a Supporting Role (Kieran Culkin), Best Original Screenplay
  • THE SUBSTANCE – Nominated for Best Picture, Best Director (Coralie Fargeat), Best Actress in a Leading Role (Demi Moore), Best Original Screenplay
  • WICKED – Nominated for Best Picture, Best Actress in a Leading Role (Cynthia Erivo), Best Actress in a Supporting Role (Ariana Grande)
  • THE WILD ROBOT – Nominated for Best Animated Feature Film

Final Thoughts

Don’t miss your chance to immerse yourself in the cinematic brilliance of the 2025 Oscar nominees on Fandango at Home. With an incredible lineup spanning multiple genres—from dramatic blockbusters to animated marvels—this is your opportunity to celebrate the artistry of film and join in the excitement of Hollywood’s biggest night. Visit the dedicated Oscar Nominees storefront on Fandango at Home and secure your tickets to a night of unforgettable cinematic celebration!

Lost Joy hits digital on March 18th

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Freestyle Digital Media, the digital film distribution division of Byron Allen’s Allen Media Group, proudly announces the acquisition of North American rights to the psychological suspense-thriller LOST JOY. The film will make its digital debut on all North American HD internet, cable, and satellite platforms, as well as on DVD, starting March 18, 2025.

What is Lost Joy?

LOST JOY tells the gripping story of Jane and Jon, a couple struggling to mend their fractured relationship while staying in a remote cabin in the woods. As tension mounts, Jane begins to experience strange visions and unsettling sounds that Jon cannot perceive. The situation takes a twist when a mysterious man named Jack appears, claiming to share her disturbing visions and casting doubt on the integrity of her relationship. Trapped in a web of uncertainty, Jane is forced to question her reality and the people she can trust—until the shocking truth is finally revealed.

Lost Joy hits digital on March 18th 17

Final Thoughts

LOST JOY promises to be a suspense-filled rollercoaster, laced with twists that will leave audiences eager to watch it again and again. Freestyle Digital Media negotiated the deal directly with the filmmakers and Robert Enriquez of Red Baron Management/Films. Mark your calendars for March 18, 2025, and prepare to immerse yourself in a film that challenges your perceptions of reality and trust.

The Monkey (2025) [Movie Review]

When people die, how the fuck do you take it? How do you deal? Sadly? Sweetly? Meekly? Do you rage at injustice, or do you just… accept it? Take it at face-value?

A lot of the time, death just doesn’t make sense. But “that’s life”, as Tatiana Maslany’s Lois Shelburn says to her two twin boys, Bill and Hal (both played by Christian Convery), in Osgood Perkins’s “new trip”, The Monkey.

Perkins has long been working deep in the horror vein, with prior “trips” like The Blackcoat’s Daughter and I Am The Pretty Thing That Lives In The House being dark and straight-faced in their genre trappings. But past his breakout hit, last year’s Longlegs, Perkins has seemingly decided to stretch his limbs, artistically – The Monkey is, if you’re into it, a flat-out comedy. A dark, twisted, gory, delightful comedy.

And, like the best comedies, it’s wonderfully dumb. I don’t mean that as an insult, and I’m certainly not telling you to turn off your brain, or some shit. But The Monkey makes its set-ups so obvious, and artfully so, that when the punchlines come, like a Rube Goldberg of death, they’re a gory joy.

Letting “The Good Times Roll”

But what is The Monkey? The title toy itself is a little wind-up simian that drums while playing Shirley & Lee’s “Let the Good Times Roll” on a weird, distorted internal organ before the last drumstroke of the song hits and somebody, inevitably, dies. The story itself is based on a Stephen King short published in his collection Skeleton Crew, but it’s not a one-to-one adaptation – King’s original story was frightfully dark and psychological. Perkins, in crafting his very loose adaptation, has taken the old skin of the King story and stretched it over an entirely new situation and plot that doesn’t merely nod knowingly at other King stories (there are minor characters outright named “Annie Wilkes” and “Mrs. Torrance”), it whiplashes its head up-and-down as eagerly in knowingness as, well, a monkey.

Perkins is having fun with his framework in making it as King-ian as possible without being entirely beholden to King’s original – if you’re a King fan, yourself, you won’t be disappointed even if you won’t be expecting the divergences. There’s even a nod to a King story I’d read and remembered as a kid, although I’ll leave which one it is exactly to myself.

The Monkey (2025) [Movie Review] 19

Perkins tells his story in chronological order, starting from what one of the twins imagines must’ve happened to his absent father (played by a cameoing, mustachioed Adam Scott), before moving on with whiplash abruptness to the twins’ childhood, in 1999. Their single mother, Lois (Maslany), raises them in a big house; we never learn what it is she does to maintain their lifestyle, but she dances, bowls, and tells them to mind their language. Hal (Convery), who wears glasses, and Bill (also Convery), who is the older of the two by three minutes, has a different hairstyle, and bullies his twin, are constantly at low-boil odds with each other; Bill manipulates their school life in order to get Hal repeatedly bullied, to the point where Hal finally snaps. But before he does, they find that toy monkey, wind it up… and then nothing happens.

Until a little while later, when something violently does. I’m not going to detail it, because it’s the first they witness of the many delightfully dark and abrupt deaths in this movie, but it comes with a twofold lesson told: The first, a completely off-the-cuff, hilarious sermon by a young priest played by Burnaby-based Nicco del Rio; the second, being the seeming precept of the film, told over ice cream in a cemetery by Maslany’s Lois: “It’s never if. It’s only when. … Everybody dies. And that’s life.”

But, as I said up top, if everybody dies… how the fuck do you take it? Hal, despite being bullied, grows up into (our top-billed star, The White Lotus‘s Theo James) a well-adjusted deadbeat dad in a dead-end supermarket job; Bill, the bully, also grows up (also The White Lotus‘s Theo James) into a general basket-case with the ugliest haircut you’ve ever seen, money to go to strip clubs, and seemingly nothing else. In the 25 years since their childhood, they’ve hardly spoken to each other, until their Aunt Ida (Sarah Levy) has a “freak accident” (as Bill terms it) that begins with falling into a box of Christmas lights (a detail nicely retained from King’s original story) and ends with being impaled on a realtor’s sign in the middle of the night.

The adult Hal is our grimly ironical narrator (for most of the runtime); Hal, who is at the start of a planned week with his estranged son, Petey (Colin O’Brien), is dealing with life about as successfully, and grimly, as you might expect – particularly evident in the lone scene where he tolerates his wife’s second husband, a wealthy author and fatherhood guru in a big house played with delightful gusto by Elijah Wood as an obnoxious “power”-stealing boor. But, as so often happens with life, death interrupts – quite literally.

And repeatedly.

Gorily, and violently.

… as becomes very obvious very quickly, death has, as it does with all people, fucked these particular people – the particular family – right the fuck up.

And, for as dark and as obviously hard-to-deal with as death, and these deaths, are for these people, they come and hit you in ways – quite purposefully arranged by writer/director Perkins – that can only make you laugh with how absolutely fucked, gory, and matter-of-fact they come, even as they come in the more wonderfully-contrived way possible, underlined by James’s narration.

Perkins shows us each piece, each link, in the chain beforehand, then sets off the contraption and we can only guffaw in delight at the results.

Again and again – from a wasp’s nest to a completely random herd of horses (which Perkins delivers to a character played by, spoiler alert, himself) – the deaths hit with the shock of a concrete cinderblock to the head, but with way more art and style applied. There’s even a wonderful snort of an homage to Home Alone – I’m not even kidding!

It’s Like “Vertigo”

I really don’t want to overly detail the plot, because so much of the joy is in figuring it out as Perkins leads you along, showing you how each character has been fucked by each death and situation. But there’s a style and care in how the plot unravels that calls back, to my mind, to Alfred Hitchcock’s Vertigo – maybe not the most obvious reference, but considering Perkins’s own lineage (his father, Anthony, starred in Hitchcock’s Psycho), it’s a well-considered and -appreciated one.

The Monkey (2025) [Movie Review] 21

Perkins’s family, in real life, has had to deal with death in its various manifestations, which I’m not going to detail here, but suffice to say, his firsthand experience has been wound into the viewpoint of this film with a careful and knowing eye. Far from being gloomy and melodramatic, The Monkey has a wonderful, colorful style, and wild aplomb – rather like his own father’s Psycho III, which features not just a shower scene but a shower scene with a hallucination of a nun!

And, as with Vertigo, and as with other King tales, dreams and hallucinations and memories intertwine themselves into the twins’ viewpoints – and I mention Vertigo again because, well, you’ll know it when you see it.

A kaleidoscope one moment, a blaze of primary color out of black night the next – it’s not as playful with aspect ratios as Longlegs was, but there’s a Bible quote repeatedly in the dialogue that I initially thought was Perkins playing in that same rhetorical sandbox of theology again – but I found myself completely, wonderfully, and gloriously wrong, in the most literal way. When you see it, you’ll know.

It’s So Fun

How literal this film gets contributes, I think, to how wonderfully the comedy plays; in part, because of how realistically stupid its characters act, like actual human beings do. A character that winds up looming large, Ricky, played by Rohan Campbell (from Halloween Ends), is so incredibly dumb that he convolutes the plot even further, just by dint of how stupid he is, and he’s so stupid he makes you laugh every time he’s on screen.

His eyes are never visible under his wild mane of ’80s-rock-style hair (and, indeed, some of the hairstyles in this film weirdly seem to place this in a period earlier than it appears to actually be set, but that might just be part of the charm), further showing his dimness to the whole thing – he’s seemingly the only main character who doesn’t realize the monkey is killing people; instead, he’s reminded of his own absent father by the killer monkey. It’s so, so dumb, and that’s why it’s glorious.

But the story’s not thoughtlessly dumb; no, it’s got a very smart point. Perkins has stretched the skin of the original King story over a structure roughly the shape of a metallic horse skeleton – a shaggy whip on one end, a long trailing back, arcing to a keenly intelligent and jaded view of life and death.

And, obviously, like a horse, shit generally comes out one end, and you have to deal with that. That’s not Perkins’s point, but if you follow the structure of the film, you’ll arguably follow the point he’s making better.

In a dual role, our lead, Theo James, differentiates enough between Bill and Hal – they are brothers, after all – while keeping a cool, level, natural affect for both that only cracks when it really sells to us that it is even more serious. James is the only Brit in the cast, but you’d never guess from how utterly American his accent is – it’s without a hitch, and really plays nicely into some of the weirder lines both brothers have to say. And the dark irony his ever-present, Goodfellas/Jules et Jim-style narration is drenched in, is perfect for the gory, weird shit both characters wind up dealing with.

Can-Pro

The young Bill and Hal are also both played by a single actor, Christian Convery, and he gives one of the best child actor performances I’ve seen since Grey House on Broadway back in 2023. He sells the emotional moments; he carries you right up to his end of the plot with both characters, and helps differentiate between the two brothers in even more obvious ways than James does, but neither performance is showy.

Convery, a young Canadian previously from the series Sweet Tooth, is a remarkable talent, as is the young American Colin O’Brien, who plays Hal’s son Petey – James and O’Brien don’t look very related, but Convery and O’Brien do, and James and O’Brien, carrying the bulk of the runtime together, play so well off each other that you really want to see more of them together as a duo.

But the film is full of great supporting performances, from a majority Canadian cast – the film was shot in Vancouver, after all. Levy, del Rio, and Campbell all shine; Janet Kidder, a Canadian screen legend, also makes an appearance. In particular, there’s a scene-stealing turn given by the prominently-billed Canadian farceur Tess Degenstein as Aunt Ida’s realtor – she’s, as far as I know, not gotten too many major films before, so this is easily her moment; her shot. (Pun intended. Wait for it.)

And shot after shot is called by Perkins, like a demented Babe Ruth, bat smeared with gore – the obvious comparison I’ve seen to this is Final Destination, but while that series plays its plots seriously with its deaths being contrived and wildly out of the ordinary, to the point of utilizing scads of spectacular CGI, The Monkey sets up its deaths so matter-of-factly, albeit with a sophisticated visual style, that when they do come – and some of them take a while to come – they land wonderfully, not horribly, like the sudden shock of a brick joke jolting you to remember the set-up long after it’s been wound up.

The most comically out-of-place moments, like a squad of cheerleaders cheering on the removal of a body from a crime scene – seriously – don’t even feel out-of-place; they come as part of the weird, wonderful comedy; they land like even-gorier bits out of a 2000s Farrelly Brothers movie, delivered with pitch-black humor and out one end of a glorious, glossy, sophisticated machine. It’s Perkins applying the style he’s been developing since his very first film, the style that earned him such wild acclaim in Longlegs, to a pitch-perfect application of bathos in the face of horror — you really can only laugh. It’s wonderful.

And just as wonderful is the brief, recurring figure of the twins’ mother, Lois. Maslany, despite being second-billed, right under Theo James, is barely in the film, but you can’t forget her impact, her sheer presence, in the story; she looms large, like the mother in a Grimm fairy tale, or Struwwelpeter, briefly glimpsed, shaded in, full of import, and then lingering in her absence – like a reverse Harry Lime in The Third Man. As I said, we never get to see what Lois Shelburn does in life – except, from the boys’ perspective, dance. And Maslany dances.

(If you’re eager to see more of that, Maslany has a queer dance horror thriller entitled Next-In-Line, written and directed by Danny Dolan, coming down the pike that I dearly recommend you keep an eye out for, because it looks amazing.)

Perkins has an incredible eye for talent, and Maslany, one of the best actresses of her generation (if you’ve seen She-Hulk and Orphan Black, you fucking know), uses her screentime to utmost advantage; one wonders which came first, The Monkey or Perkins’s next announced feature, Keeper, which is already completed begun during the double SAG/WGA strike – to result in Maslany being in Perkins’s top-and-near-top-billed spots for both films. (If you stick past the end credits, as I did, you will see a delightful, brief teaser for Keeper, so I recommend doing so.)

Perkins not only has a remarkable eye, he’s got an incredible ear for music – Longlegs, for example, proved just how studious a fan of T. Rex he was, and in The Monkey, he dives deep into ’60s rock ‘n’ roll for his soundtrack – easily the most King-ian of musical settings. Not just Shirley & Lee, but also Sam Cooke as the finishing blow, which just puts a viewer in mind (as one can only assume Perkins meant to put the viewer in mind) of one name, one appellation: Landis. If that’s the sort of influence Perkins is proudly wearing on his sleeve, I really can’t wait to see what else – and not just Keeper! — he’s got in reserve.

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At 98 minutes in length, The Monkey trots at a breezy canter most films these days can only dream of, and I urge you to see it more than once, not just because it’s short, but because it’s fun. We need more fun, these days.

The Monkey, released by NEON, is in theatres almost worldwide now. Directed and written by Osgood Perkins. Produced by James Wan. Starring Theo James, Tatiana Maslany, Christian Convery, Colin O’Brien, Rohan Campbell, Tess Degenstein, with Sarah Levy, Osgood Perkins, Adam Scott, and Elijah Wood. Runtime: 98 minutes. Rated R.

The Monkey (2025) [Movie Review] 23
The Monkey (2025) [Movie Review]
The Monkey is terrific
Best King adaptation in years.
What I didn't like about The Monkey
Very short
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