SUBMITTED BY Typhon24
March 2, 2001 — Show Me the Monkey!: A Review of MonkeyBone by Typhon24
Henry Sellick’s MonkeyBone is not for everyone. This movie is a chameleon – it shifts back and forth between tones. One minute it is a wacky comedy, the next a surreal fantasy and, most shockingly and interestingly of all, at times it is a psychological trip. Much like the title character, this film is frantic, raunchy, unpredictable, and a lot of fun. But don’t go in expecting to love this movie. There are certain kinds of people who will adore this movie; others will loathe it. Pick up any major publication – almost everything from The Boston Globe to Newsweek has eviscerated this movie. These critics are prime examples of those kinds of people. But what I’m going to give you is the perspective of someone who felt he got more than his money’s worth in MonkeyBone.
I’ll try and explain the plot as well as possible, but this movie is very odd, so bear with me here. Cartoonist Stu Miley (his nametag reads S. Miley, aka Smiley; subtle, aren’t they?), played by Brendan Fraser, is the creator of a crude animated cartoon show entitled MonkeyBone (think South Park with a monkey). Stu’s show has just been picked up by ‘The Comedy Channel’, but Stu just wants to settle down with his girlfriend (Bridget Fonda), a doctor who pulled Stu out of a deep depression. Unfortunately, before he can propose to her, Stu gets into a car accident that puts him in a coma. This is where the film really picks up. While Stu’s body remains in a lifeless comatose state, his soul enters a fantastical limbo-realm known as ‘Downtown’. This is where the souls of all comatose people go before they are either taken by Death or allowed to return to the land of the living. Downtown is difficult to describe – it appears like an old, run down theme park floating in a black void. All the booths and carts are run by bizarre monsters and demons, who crave the nightmares of the living to survive (they watch them like we watch movies). Downtown is also home to a living version of Stu’s creation and alter-ego, the raucous and crazed MonkeyBone (voiced brilliantly by John Turturro). MonkeyBone is everything Stu is not – loud, inappropriate, and very sexually charged (it is established early on that MonkeyBone is supposed to be the physical manifestation of Stu’s sexual energy). After meeting up with his new found simian sidekick, Stu discovers he has only a matter of days before his sister (Megan Mullally of Will and Grace) pulls the proverbial plug on him. It becomes a race against time to escape Downtown by cheating Death (Whoopi Goldberg).
This movie was visually jaw dropping. The special effects were a combination of the most modern technology using computer generated imagery and more archaic effects work such as claymation. The dark and eerie world of Downtown is at times visually amazing, and at other downright disturbing – its twisted nightmare rides and gruesome inhabitants are completely unique and inventive, all crafted with a pinch of gothic style. The Carnival is both awe-inspiring and gasp inducing at the same time – roller coasters twist and turn in the sky above the fair like jagged barbed wire. When viewed from afar, the floating carnival seems to have a life of its own, spidery and menacing as it uncurls.
The inhabitants are like something out of a children’s fairy tale gone horribly wrong, ranging from scurrying road kill to knuckle walking Cyclopes. The surrealistic nature of the film goes to extents never achieved before in cinema using state of the art special effects work. At one point, Stu is sucked into his own surrealistic black-and-white nightmare painting, and it’s like nothing that has been in any recent films – the original style this movie crafts is truly unique. Some of the character design was fabulous as well, such as the effect used to create Hypnos, the half-man half-goat God of Nightmares (played by Giancarlo Esposito).
Some of the humor in this movie is very sophomoric, yet still good for a laugh, while other parts are actually quite witty. For instance, one of the inhabitants of Downtown looks suspiciously like a now defunct cigarette hocking camel, who briefly appears to ask Stu “Got a light?” Also, the only way out of Downtown is through the mouth of a giant bust of former President Abraham Lincoln that floats in the clouds face down as a soggy bit of cereal might float in your milk (“Look,” the crowd screams, “it’s the Great Emancipator!”). Of course, at times the movie will sink to the lowest common denominator with a good old fashioned fart joke, but what comedy doesn’t these days?
The performances in this movie are not what make it the striking production that is is, but practically the entire cast does very well. Brendan Fraser plays the role of Stu as he plays most of his characters, yet here he does have the opportunity for some variety in the second act of the film (can’t say why, it’d spoil the movie!). It’s nice to see a hint of depth to his slightly crazed and slightly depressed protagonist when the script allows it to shine through in the form of his demented and horrifying nightmares. Fraser can certainly carry the film and then some, as he is always entertaining if not groundbreaking. John Turturro provides the voice of the titular character, MonkeyBone, and the combination of his mile-a-minute, high pitched whine and the spastic claymation monkey fit together perfectly. MonkeyBone’s frantic shifting and wise-cracking provides the main source of humor in the film, and he’s a really fun character. A truly malevolent pinch added to his zany, unpredictable chimp makes him even more entertaining. The best parts of the movie are when Stu and MonkeyBone get to play off each other – I found myself wishing they had more screen time together. The other cast members take a back seat to these two, but regardless do a great job. Bridget Fonda does not have a particularly challenging role, but she plays her part well. The only real flaw in the film’s cast is Whoopi Goldberg as Death, who seems to play this role without any level of flair or interest. Normally, that would be ok, but when you get the role of Death incarnate, you should at least try your hardest. Chris Kattan (Saturday Night Live) appears prominently in the final act of the film, and his performance is downright hilarious. Unfortunately, to give away his part would be to ruin the gag, but just trust me here, it’s one of the funniest and most unconventional roles ever.
Like I said, this film is not flawless. Distributor 20th Century Fox edited this movie extensively, and it shows. Aside from making the film feel too short, these edits create references to prior scenes in the movie that have since been cut out, and now parts don’t make any sense. Additionally, while some of the effects work can be categorized as ‘inventive’ or ‘unconventional’, some of it is just plain sloppy and fake looking. The tone and visuals of the movie are fantastic, but it often tries desperately to be Beetlejuice or Who Framed Roger Rabbit, and ultimately it fails there. The film only truly shines when it stops copying other films and works to be its own movie.
MonkeyBone is not your conventional Friday night movie. You shouldn’t go expecting anything – if you do, you’ll be surprised, and possibly disappointed. But remember – don’t let closed-minded critics or people who just plain didn’t understand MonkeyBone stop you from seeing this surreal psychological opus if you think it looks interesting. Trust me – you’d be missing out on something unique. I certainly got my monkey’s worth.
Rating: 9/10 stars |
