Showing posts with label Osgood Perkins. Show all posts
Showing posts with label Osgood Perkins. Show all posts

Thursday, February 20, 2025

Osgood Perkins’ The Monkey

By Stephen King’s standards, Captain Petey Shelburn was not such a bad father. He just had terrible instincts when buying collectibles. Don’t call this wind-up primate a toy, because it is no fun to play with. It is the reason why Shelburn was never around for his twin sons. Unfortunately, Hal and Bill Shelburn get stuck with their father’s evil legacy in Osgood Perkins’ The Monkey, based on King’s short story, which opens tonight in theaters.

Bill was Hal’s senior by a few minutes—and he never let his “younger” brother forget it. Bill bullied Hal mercilessly, but they were equally fascinated by their absent father. However, the airline captain did not intentional abandon his family, as viewers know from the bloody prologue. Inevitably, they find the drumming monkey tucked away with Capt. Petey’s things and turn the key in his back. Then, people start dying.

The Monkey does not physically stab people like Chucky. Instead, it somehow unleashes
Final Destination-style accidents that always result in lethal gore. Unfortunately, you cannot direct the simian assassin towards a specific target. It kills who it wants to kill. The twins figure that one out after the second turn of the key. Tragically for Hal, it kills their mother Lois instead of Bill.

Of course, the Monkey cannot be destroyed, so they chain it up in a box and dump it in a well. Eventually, the twins go their separate ways to live sad, solitary lives. Hal is especially sad, but he still manages to slip up and father a son of his own. For young Petey’s safety, Hal tries to keep his distance. However, during a rare road trip together (which might be his final contact, if Petey’s mom and step-father have their way), Hal receives word that his guardian aunt died in a freak Monkey-like accident. By the time Hal and Petey (the younger) reach unfortunate Aunt Ida’s house, they find the town has been plagued by a series of unlikely but gruesome accidents.

King’s original story predated
It, but the parallels that emerge in Perkins’ adaptation make it look like an early study for the mammoth novel. Similarly, children survive an encounter with an uncanny evil force, but must return to complete their unfinished business in adulthood. Both Pennywise the clown and the organ-grinder-like Monkey also represent the corruption of symbols of playfulness. However, the twins’ Cain and Abel dynamic adds a dark element unique to The Monkey.

Wednesday, March 29, 2017

The Blackcoat’s Daughter: February Chills Your Soul

What school has its semester break in February? It sounds like particularly poor planning for a boarding school in the snowy Northeast. Indeed, the staff assumes two of their students’ parents have been waylaid by the weather, but we suspect something much more sinister is afoot in Osgood Perkin’s The Blackcoat’s Daughter (a.k.a. February, trailer here), which A24 and DirecTV will release in theaters and On-Demand March 31, 2017.

Lucy the upperclassman deliberately gave her parents incorrect information to allow herself more time to deal with what she suspects is an unwanted pregnancy. In contrast, young Kat was eagerly anticipating the arrival of her parents, but she fears her nightmarish visions of an icy car crash have come true. Something very bad will happen during their long lonely night at Bramford, which will continue to reverberate nine years later.

In that later timeline, Joan Marsh is trying to reach Bramford as quickly as possible, even though she is conspicuously unprepared for the harsh winter weather. Presumably, she is quite fortunate to get picked up by Bill and Linda, but they too have a troubling backstory. Apparently, she reminds him of their late daughter, a Bramford student who was brutally murdered. Obviously, the trauma left them permanently damaged, but they might also be somewhat cracked. Eventually, all the relationships become clear as Perkins cuts between storylines.

Perkins is the son of Anthony Perkins, the original Norman Bates, and he definitely upholds the standards of the family business. Blackcoat is an extraordinarily disciplined horror film that cranks up the tension through the power of suggestion and uncertainty rather than messy special effects. In a more just world, Blackcoat would be a shoe-in for an Academy Award for its profoundly unsettling ambient sound design and that ghostly “Deedle, deedle, Blackcoat’s daughter, what was in the holy water” song would at least be one of the ceremony’s musical numbers, regardless whether it is Oscar-eligible. The spartan deserted prep school setting is also eerie as all get out.

Kiernan Shipka and Emma Roberts are creepy as heck as Kat and Marsh. However, it is James Remar and Lauren Holly who really kick the film up several notches as Bill and Linda. We’re talking about some stinging, push-you-into-the-back-of-your-seat work here. They also provide some helpful misdirection for a twist that really isn’t that hard to anticipate—however, its implications are deeply disturbing.

There is no doubt Perkins has a keen grasp of what makes the demonic so profoundly terrifying. He also has a practical understanding of horror movie mechanics. This is a scary movie, precisely because of its subtlety and exacting mise-en-scène. Highly recommended for smart horror fans, The Blackcoat’s Daughter opens this Friday (3/31) in New York, at the Village East.