Simply in time for vacation festivities, author/director Osgood Perkins has shared a first-look clip from his new movie “The Monkey,” a Stephen King adaptation out February 21. That is Perkins’ first movie since “Longlegs” grew to become Neon’s highest-grossing film ever and one of many top-grossing horror motion pictures of 2024.
This gory adaptation of the 1980 Stephen King brief story facilities on Theo James as twin brothers Haal and Invoice, who witness a string of horrifying deaths the place a toy monkey might maintain a clue to the killings. The forged additionally consists of Elijah Wooden, Tatiana Maslany, and Sarah Levy (proven right here within the clip as Aunt Ida, who will get her face mangled and hair set on fireplace), with Perkins writing and directing the movie.
He’s mentioned that “The Monkey” can be his most comedian movie up to now. “It’s feeling extra like an previous John Landis film or a Joe Dante film or a Robert Zemeckis film,” Perkin informed The Hollywood Reporter. “I noticed a chance to make a wry, absurdist comedy about demise. It’s in regards to the very primary indisputable fact that all of us die — and the way fucking humorous and peculiar and unimaginable and surreal is that shit? And to return at it from a tragicomedy sort of voice felt prefer it match.”
Perkins was beforehand candid with IndieWire about his mother and father’ deaths — together with his father, actor and “Psycho” star Anthony Perkins — knowledgeable the satanic horrors of “Longlegs.” That movie starred Maika Monroe as an FBI agent within the ’90s on the path of a serial killer (Nicolas Cage) who holds an intense connection to her childhood.
He additionally talked about Neon’s nifty advertising and marketing marketing campaign — which concerned billboards, a faux cellphone line, and cryptic teasers — that helped flip “Longlegs” right into a viral summer season hit. “I’d be a jackass to take an excessive amount of credit score for what they’ve finished,” Perkins mentioned. “[Neon] actually responded strongly to the film, the uncooked supplies of the film actually excited them, the way in which it seems to be, the way in which it feels, the way in which it sounds. They requested me early on, ‘Do we’ve got your permission to sort of go nuts?’ And I mentioned, ‘What else are we doing right here? Go for it. Do your factor.’”
It seems to be like “The Monkey” is following in comparable trend.