Like I said -- I don't know him. And yet knowing what I do -- having watched him speak eloquently in Bryan Fuller's horror doc Queer For Fear about his closeted father's tumultuous relationship with the character of Norman Bates and his death from AIDS, and also knowing that Osgood's mother, the actress Berry Berenson, was killed in one of the planes that crashed into the World Trade Center on 9/11 -- the thematic threads of cursed familial chaos passed down patriarchally that thrum though The Monkey feel, you know, fairly pointed! Notable. Of note. Resonant. And then when planes on fire start falling out of the sky? Can you blame me? These thoughts are right there for the taking.
It also might be, all due apologies to Gretel, my new favorite movie of Oz's. It'll definitely take a second viewing to decide that because The Monkey is so tonally erratic and balls deep wackadoo that it's hard to decide from moment to moment if this shit's anarchic genius or gallumphing mess. Hell maybe it's both! But in a world of so much personality-free I.P.-driven "content", The Monkey feels so bloody particular, so preposterously gonzo, that I must slow-clap it for audacity alone. (If you liked last year's Cuckoo, which I've come to appreciate more and more with distance for how by-its-own-rules it flew, this should also be your cuppa.)