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“It's not. Your real problem's the monkey. The monkey's the eye in the sky. He sees everything. Classrooms. Hallways. Even the playground. You can unlock doors, sneak past guards, climb the wall, but if you don't take out that monkey, you ain't going nowhere. You wanna get out of here? Get rid of that monkey!”―Chatter Telephone's warning to Woody[src]The monkey is a Musical Jolly Chimp monkey toy who is a major antagonist in the 2010 Disney•Pixar animated film Toy Story 3. He reforms at the end of the film, since he likely realized that Lotso deceived him.Role in the film[]The monkey is a cymbal-banging monkey toy at Sunnyside Daycare. He doesn't speak, but he does make screeching monkey noises.The monkey is first seen being played by Bonnie Anderson when the much older Ms. Davis goes to Sunnyside to donate the toys and meets Bonnie's mother, and Bonnie is extremely shy to talk to Andy's mother.During the times when Sunnyside is under Lotso's regime, the monkey has worked under Lotso as a nighttime security guard watching all the security cameras in his office. Every time a toy tries to escape, the monkey pushes a button that turns on the P.A. and screeches loudly into it while banging his cymbals together repeatedly, alerting Lotso and his other nighttime guard toys to capture that toy like a security alarm.When Woody returns to Sunnyside to rescue his imprisoned friends, the Chatter Telephone tells information about the Monkey to Woody and says that he'll have to get rid of the Monkey if he wants to escape.That night, the Monkey is busy focusing his eyes on one camera where Ken, Big Baby, and the reset Buzz have cornered Mr. Potato Head (who escaped from his cell and left a real potato in it) that he doesn't notice Slinky coming out of his cell in the Caterpillar Room through another camera. Woody and Slinky quietly go through the vent into the Monkey's office. With Slinky grabbing hold of Woody and swinging him, Woody tries to put a plastic black bag over the Monkey's face, but the Monkey senses them right behind him, and he quickly turns around and screeches at Woody, making him and Slinky fall on the Monkey due to getting startled, knocking the P.A. off the desk. The Monkey and Woody both get up, and the Monkey turns and hisses at the surprised Woody and

Osgood Perkins was one of the great cinematic finds of 2024. It’s true that he’s been in the Hollywood game since 1983, and he’s even masterminded his fair share of horror fare over the last decade, but his decidedly singular Longlegs put him on the map like never before. A move of that caliber would turn anyone into the next champion of independent horror cinema; a champion whose next project would no doubt be eagerly awaited. In Perkins’ case, that project is The Monkey, the Theo James-led comedy horror based on Stephen King’s short story of the same name, and buried within this film is one of the most transgressively intelligent genre exercises this side of Bubba Ho-Tep. That’s not to say that the form that it does take isn’t without merit, nor that Perkins’ trademark sensibilities shouldn’t continue to leave their comfort zones, but The Monkey very blatantly could have done with some extra time in the oven — honestly, it probably wasn’t even cooked for the recommended length of time. The Monkey follows James as Hal Shelburn, a down-on-his-luck divorcee who had a cartoonishly tragic childhood, courtesy of his horrible brother Bill (also Theo James), and a toy monkey that may or may not have been responsible for the death of his mother and a handful of other folks close to him. Hal and Bill thought they were rid of it forever when they buried it as kids, but when it shows up in Hal’s life again, he’s forced to work overtime to protect his estranged son from this malevolent, key-operated simian. Image via Neon It will be hard for most people — at this point in time, anyway — to contextualize The Monkey without thinking back to Longlegs. Initially, this may seem to work against The Monkey. The consistent technical power that Perkins packed into each of Longlegs‘ frames was key to establishing it as the instant masterpiece of dread that it’s understood to be, and that power is largely — though not completely — absent here. Indeed, the camera isn’t having nearly as much fun as we know it’s capable of having in Perkins’ hands. However, The Monkey is a comedy film first and foremost. Laughter and levity are the ends of the film’s obscenely gory means. Perkins’ camera, then, knows not to interfere too much — the film’s thoroughly unserious brand of comedy draws from a challenging place just on its own, and trying to squeeze in serious (and therefore antithetical) visual awe would have been a few ingredients too many for this giggle-first storytelling core. It’s smart, disciplined direction from Perkins. With that said, the camera still needs to supervise the rest of the