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USA Today
14-06-2025
- Entertainment
- USA Today
Best Stephen King movie adaptations, ranked (including 'The Life of Chuck')
Best Stephen King movie adaptations, ranked (including 'The Life of Chuck') Show Caption Hide Caption 'The Life of Chuck': Tom Hiddleston headlines Stephen King movie Based on a Stephen King novella, "The Life of Chuck" chronicles the life of accountant Charles Krantz (Tom Hiddleston) in three acts told in reverse. Love movies? Live for TV? USA TODAY's Watch Party newsletter has all the best recommendations, delivered right to your inbox. Sign up now and be one of the cool kids. Almost as long as that legendary master of horror Stephen King has been keeping book lovers up at night, filmmakers have been adapting his novels and short stories. Which means there have been some stone-cold classics ("The Shining," anyone?) and more than a few clunkers. For every "The Dark Tower," there's an "It" – though we got two of those, both of them good. So is the new one: Director Mike Flanagan's uplifting film "The Life of Chuck" (in theaters now), based on the novella from King's "If It Bleeds" collection, stars Tom Hiddleston as the title character whose life story gets told in reverse chronological order. It's a pretty big 2025 for King and his Constant Readers. The year has already seen the release of "The Monkey," and this fall brings dystopian thriller "The Long Walk" (Sept. 12) – with Mark Hamill torturing quite a few members of young Hollywood – and Edgar Wright's new take on "The Running Man" (Nov. 7) starring Glen Powell. And on the book front, King's latest novel "Never Flinch" is new in stores while "Hansel & Gretel," his children's book with Maurice Sendak, is out Sept. 2. In honor of "Chuck," here are the most essential King movies, ranked: 15. 'Gerald's Game' (2017) Carla Gugino and Bruce Greenwood play a couple who go on a romantic getaway to rekindle their marriage. The wife gets handcuffed to the bed, hubby has a heart attack, there are no neighbors to call and she struggles to maintain her sanity in a stressful situation. (Also, good luck trying to unsee the super-duper creepy Moonlight Man.) Where to watch: Netflix. 14. 'The Running Man' (1987) So what if this futuristic action flick isn't exactly faithful to the '82 King book (written as Richard Bachman)? It's an enjoyable time watching Arnold Schwarzenegger as a framed military man on a brutally deadly game show, tackling over-the-top bruisers and TV host baddie Richard Dawson in a movie that's more WrestleMania than social satire. Where to watch: Paramount+, Apple TV, Amazon, Fandango at Home. 13. 'The Monkey' (2025) Gory and gloriously absurd, the horror comedy stars Theo James in a dual role as twins who thought they got rid of a cursed monkey toy when they were kids until it comes back into their lives and brings a whole heap of bloody death. Sure, it's extremely demented, but this wacky film also has something deep to say about mortality. Where to watch: Apple TV, Amazon, Fandango at Home. 12. 'The Green Mile' (1999) The sentimental prison drama based on King's serial novel gets its hooks in thanks to the one-two emotional punch of Tom Hanks and Michael Clarke Duncan. Hanks plays a death row prison guard who doesn't know what to make of a gentle but enigmatic giant (Duncan), convicted of murdering two girls, who exhibits strange abilities. Where to watch: Apple TV, Amazon, Fandango at Home. 11. '1408' (2007) In the most underrated King movie, a supernatural skeptic (John Cusack) who writes about haunted places takes interest in the legendarily creepy room of a New York high-rise. It's astoundingly kooky but also a thoughtful study of cynicism and belief. Where to watch: Apple TV, Amazon, Fandango at Home. 10. 'Doctor Sleep' (2019) Ewan McGregor stars in "The Shining" sequel as a grown-up Danny Torrance, decades past surviving the horrors at the Overlook Hotel, now sober after years of alcoholism and helping a young psychic girl (Kyliegh Curran). It mines familiar ground by carrying over "Shining" themes and characters, but it's best going its own way as a reluctant hero's journey. Where to watch: Apple TV, Amazon, Fandango at Home. 9. 'Stand by Me' (1986) King is as much a master of Americana as he is frights, and Rob Reiner's coming-of-age tale of four misfits and their adventures to find a dead body is top notch at capturing the unbreakable bond of friendship and the fleeting nature of childhood innocence. Where to watch: Paramount+, Pluto TV, Apple TV, Amazon, Fandango at Home. 8. 'The Mist' (2007) How do you make a King novella even more bleak? Director Frank Darabont manages to do that rather well with this story of small-town Maine folks stuck in a supermarket, thanks to a mysterious mist and monstrous hidden creatures outside. Come for the paranoia and tribalism, stay for the gut-punch ending. Where to watch: Paramount+, Apple TV, Amazon, Fandango at Home. 7. 'Misery' (1990) A modern take might have nutty Annie Wilkes making a TikTok or simply sliding into the DMs of author Paul Sheldon to profess her fandom but it wouldn't have been so malevolently perfect as this pre-Internet chiller. Kathy Bates earns her Oscar and then some, taking Annie's terrifying adoration for James Caan's Sheldon to a disturbing, hide-your-eyes level. Where to watch: Apple TV, Amazon, Fandango at Home. 6. 'The Dead Zone' (1983) Christopher Walken is a psychic schoolteacher who 'sees' someone's secrets if he touches them, including a vision of a nuclear holocaust after shaking the hand of a senatorial candidate (Martin Sheen). More than 40 years later, the film's political bent seems timelier than ever. Where to watch: Pluto TV, Apple TV, Amazon, Fandango at Home. 5. 'Carrie' (1976) Sissy Spacek exudes quiet, tortured grace as a teenager just blossoming into womanhood, leading to bullying from classmates and her abusively religious mom (Piper Laurie). The last 30 minutes is a jaw-dropping transformation from childhood innocence to murderous hysteria. Where to watch: Max, Apple TV, Amazon, Fandango at Home. 4. 'It' (2017) Taking the friendship stuff from "Stand by Me" and weaving in a deliciously evil clown in a poufy wardrobe, "It" works magic on a lot of different levels and leaves you desperately seeking more Pennywise. Warning: May not be for those skeeved out by buckets of blood shooting out of a sink. Where to watch: Max, Apple TV, Amazon, Fandango at Home. 3. 'The Life of Chuck' (2025) A more life-affirming, dance-filled Stephen King movie than you probably expect. Featuring Tom Hiddleston as a businessman with some sweet moves, it's a proudly unconventional flick that begins with the end of the world and ends with a haunted attic, and everything in between is a thought-provoking delight. Where to watch: In theaters. 2. 'The Shawshank Redemption' (1994) There's not much scary here other than some jail guards. Instead, what makes "Shawshank" an all-timer is the core friendship of two inmates (played by Tim Robbins and Morgan Freeman) who figure out they'd better 'get busy living or get busy dying." Where to watch: Apple TV, Amazon, Fandango at Home. 1. 'The Shining' (1980) King notoriously disliked Stanley Kubrick's masterpiece, but it's the best of the entire lot. Come for the infamous scenes – 'Heeeeere's Johnny,' anyone? – and stay for the exceptional exploration of isolation, one man's descent into madness, and the terrifying effect on his family. Where to watch: Max, Apple TV, Amazon, Fandango at Home.
Yahoo
12-06-2025
- Entertainment
- Yahoo
A Stephen King Adaptation With (Almost) No Scares
The Atlantic Daily, a newsletter that guides you through the biggest stories of the day, helps you discover new ideas, and recommends the best in culture. Sign up for it here. Of Stephen King's two dozen novellas, The Life of Chuck is among the odder choices to make into a movie. The titular protagonist is an unexceptional accountant. His tale is told backwards, in loosely connected vignettes. And he barely appears in the first act, which follows a teacher making peace with what seems to be the end of the world. The story, as a whole, is heady, elegiac, and rather philosophical: At one point, Chuck wonders 'why God made the world.' In the wrong hands, such a story would become inert on-screen. Its sentimentality could easily come across as maudlin, its structure too confusing to follow. The Life of Chuck's director, Mike Flanagan, has become something of a King whisperer, however, after bringing two of the author's (considered difficult-to-film) novels to the screen. Here, he has managed to translate the tricky material into a crowd-pleaser. King's work regularly gets turned into films and television shows: Aside from The Monkey, this year will also see the release of adaptations of The Long Walk, The Running Man, and The Institute, and a prequel series based on It. But as much as King may be known as a maestro at horror—an inherently cinematic genre—his greatest talent is generating worlds that feel lived in. He can conjure sense memories and a feeling of familiarity even for readers who have never, say, resided in a small town in Maine, stayed at an empty hotel, or found a dead body buried near a set of train tracks. The appeal of Flanagan's take on The Life of Chuck rests on his understanding of this resonant quality of King's writing; on-screen, as on the page, the story hums because it highlights the ordinary foundation upon which the supernatural can be built. Within the strange events is a core that is bittersweet and familiar. [Read: Doctor Sleep: A horror sequel that tries to do the impossible] Told in three chapters, The Life of Chuck begins at the end of Chuck's journey, though the character (played from oldest to youngest by Tom Hiddleston, Jacob Tremblay, and Benjamin Pajak) appears mostly as an image on a series of advertisements thanking him for '39 great years!' until the movie's middle stretch. The high-concept reasons for that are best left unspoiled, although they're challenging in a way that makes Flanagan's efforts to render them legible even more enjoyable to watch; as with his other takes on the author's work, the director faithfully captures the source material down to its last King-ian flourish, whether that be a macabre joke or a precise detail. If anything, Flanagan revels in the novella's genre-bending dexterity, magnifying the eeriness of its opening scenes before deepening the homespun warmth of its subsequent chapters. He shoots each section using a different aspect ratio, and he swaps out casts and tones with abandon. Each storyline thus takes on a life of its own. [Read: A Stephen King adaptation that doesn't believe in monsters] Please forgive the cliché; it's only appropriate, because The Life of Chuck leans on quite a few of them. Inspired by Walt Whitman's 'Song of Myself'—specifically, the verse that reads 'I am large, I contain multitudes'—the overarching plot relies on familiar archetypes and tropes to communicate a poignant idea. Of course Chuck had a tragic childhood, one that would make him accept advice from his grandfather Albie (an affecting Mark Hamill) to choose a stable life over a passionate one. Of course the girl Chuck drags into dancing with him during the second act is someone who, like Chuck, desperately needs a pick-me-up. And of course Chuck discovers, as a boy, that within him, as with everyone, is a magic that can't be extinguished by time or circumstance. 'In this moment, I am wonderful,' the young Chuck tells himself one evening as he gazes at the stars, paraphrasing Whitman. 'I have a right to be wonderful.' The line borders on saccharine, and will probably make those less tolerant of sappiness cringe. But I fell for the film's earnest insistence that each of us has access to an inner world no one else can ever fully know; that message, as trite as it may be, is particularly touching because of its pointed delivery. Flanagan's well-assembled group of actors also helps balance out the film's mushier elements: Nick Offerman narrates throughout with a matter-of-fact wisdom, Hiddleston exudes an infectious verve during his centerpiece scene, and Mia Sara, coming out of retirement to play Chuck's grandmother, is a casting masterstroke. Her presence anchors the story, as in a scene of her character dancing in her kitchen, playfully singing along to a rock song on the radio while beckoning Chuck to join her. The moment is beautifully lit and performed, playing like a memory and a dream all at once. The best of King's works, even the ones that come with telekinetic teenagers and murderous clowns, find something amazing within the everyday. Trailers for The Life of Chuck have touted King as the author behind the stories that inspired The Shawshank Redemption, The Green Mile, and Stand by Me—all selections that fall outside of the horror he typically writes. Doing so makes sense; unlike the rest of this year's plentiful offerings, The Life of Chuck joins those titles as a King entry that probably won't induce nightmares, just potent emotion, maybe even joy. Yet Chuck's tale isn't devoid of suspense. It's aligned with the rest of the author's oeuvre because it illuminates the wonder and terror of being human: that to live means acknowledging that death approaches, that the multitudes we contain can't last forever. This truth is perhaps the most visceral fear there is—yet we should take comfort in knowing that it's also the most mundane. Article originally published at The Atlantic
Atlantic
12-06-2025
- Entertainment
- Atlantic
The Appeal of Stephen King's Softer Side
Of Stephen King's two dozen novellas, The Life of Chuck is among the odder choices to make into a movie. The titular protagonist is an unexceptional accountant. His tale is told backwards, in loosely connected vignettes. And he barely appears in the first act, which follows a teacher making peace with what seems to be the end of the world. The story, as a whole, is heady, elegiac, and rather philosophical: At one point, Chuck wonders 'why God made the world.' In the wrong hands, such a story would become inert on-screen. Its sentimentality could easily come across as maudlin, its structure too confusing to follow. The Life of Chuck 's director, Mike Flanagan, has become something of a King whisperer, however, after bringing two of the author's (considered difficult-to-film) novels to the screen. Here, he has managed to translate the tricky material into a crowd-pleaser. King's work regularly gets turned into films and television shows: Aside from The Monkey, this year will also see the release of adaptations of The Long Walk, The Running Man, and The Institute, and a prequel series based on It. But as much as King may be known as a maestro at horror—an inherently cinematic genre—his greatest talent is generating worlds that feel lived in. He can conjure sense memories and a feeling of familiarity even for readers who have never, say, resided in a small town in Maine, stayed at an empty hotel, or found a dead body buried near a set of train tracks. The appeal of Flanagan's take on The Life of Chuck rests on his understanding of this resonant quality of King's writing; on-screen, as on the page, the story hums because it highlights the ordinary foundation upon which the supernatural can be built. Within the strange events is a core that is bittersweet and familiar. Told in three chapters, The Life of Chuck begins at the end of Chuck's journey, though the character (played from oldest to youngest by Tom Hiddleston, Jacob Tremblay, and Benjamin Pajak) appears mostly as an image on a series of advertisements thanking him for '39 great years!' until the movie's middle stretch. The high-concept reasons for that are best left unspoiled, although they're challenging in a way that makes Flanagan's efforts to render them legible even more enjoyable to watch; as with his other takes on the author's work, the director faithfully captures the source material down to its last King-ian flourish, whether that be a macabre joke or a precise detail. If anything, Flanagan revels in the novella's genre-bending dexterity, magnifying the eeriness of its opening scenes before deepening the homespun warmth of its subsequent chapters. He shoots each section using a different aspect ratio, and he swaps out casts and tones with abandon. Each storyline thus takes on a life of its own. Please forgive the cliché; it's only appropriate, because The Life of Chuck leans on quite a few of them. Inspired by Walt Whitman's 'Song of Myself' —specifically, the verse that reads 'I am large, I contain multitudes'—the overarching plot relies on familiar archetypes and tropes to communicate a poignant idea. Of course Chuck had a tragic childhood, one that would make him accept advice from his grandfather Albie (an affecting Mark Hamill) to choose a stable life over a passionate one. Of course the girl Chuck drags into dancing with him during the second act is someone who, like Chuck, desperately needs a pick-me-up. And of course Chuck discovers, as a boy, that within him, as with everyone, is a magic that can't be extinguished by time or circumstance. 'In this moment, I am wonderful,' the young Chuck tells himself one evening as he gazes at the stars, paraphrasing Whitman. 'I have a right to be wonderful.' The line borders on saccharine, and will probably make those less tolerant of sappiness cringe. But I fell for the film's earnest insistence that each of us has access to an inner world no one else can ever fully know; that message, as trite as it may be, is particularly touching because of its pointed delivery. Flanagan's well-assembled group of actors also helps balance out the film's mushier elements: Nick Offerman narrates throughout with a matter-of-fact wisdom, Hiddleston exudes an infectious verve during his centerpiece scene, and Mia Sara, coming out of retirement to play Chuck's grandmother, is a casting masterstroke. Her presence anchors the story, as in a scene of her character dancing in her kitchen, playfully singing along to a rock song on the radio while beckoning Chuck to join her. The moment is beautifully lit and performed, playing like a memory and a dream all at once. The best of King's works, even the ones that come with telekinetic teenagers and murderous clowns, find something amazing within the everyday. Trailers for The Life of Chuck have touted King as the author behind the stories that inspired The Shawshank Redemption, The Green Mile, and Stand by Me —all selections that fall outside of the horror he typically writes. Doing so makes sense; unlike the rest of this year's plentiful offerings, The Life of Chuck joins those titles as a King entry that probably won't induce nightmares, just potent emotion, maybe even joy. Yet Chuck's tale isn't devoid of suspense. It's aligned with the rest of the author's oeuvre because it illuminates the wonder and terror of being human: that to live means acknowledging that death approaches, that the multitudes we contain can't last forever. This truth is perhaps the most visceral fear there is—yet we should take comfort in knowing that it's also the most mundane.
Yahoo
24-05-2025
- Entertainment
- Yahoo
After Sinners, I've Seen All Four Major Dual Performance Movies So Far In 2025, And There's A Clear Best And A Clear Worst
When you buy through links on our articles, Future and its syndication partners may earn a commission. SPOILER WARNING: The following article contains some spoilers for Sinners. If you have not yet seen the film, A) what are you waiting for?!, and B) proceed at your own risk. In the early decades of cinema, having a single actor play two different characters performing together in a single scene was a magical feat that blew the minds of audiences… but on a technical level, it has become pretty basic in modern Hollywood. Between visual effects, advanced editing procedures, and cameras that can be programmed to repeat precise movements in multiple takes, contemporary filmmaking has taken the shine off that particular apple. What can still make dual performances stand out, however, is the caliber of the actor pulling double duty – and we've seen a fascinating array of them in the first four months of 2025 alone between Christian Convery and Theo James in Osgood Perkins' The Monkey, Robert Pattinson in Bong Joon Ho's Mickey 17, Robert De Niro in Barry Levinson's Alto Knights, and Michael B. Jordan in Ryan Coogler's Sinners. It's been a bit odd to see all of these movies released in close proximity to one another, and each employs the cinematic trick differently, but along the titles, there is a standout that executes it best and a standout that executes it worst. Dual Performances Of 2025! The Monkey Review: Gory, Wild Madness Unlike Any Other Stephen King Movie--The Alto Knights Review: I Never Imagined A Robert De Niro-Led Gangster Movie Could Be This Epically Bad--Mickey 17 Review: Bong Joon Ho's Parasite Follow-Up Is Goofy And Smart But Also Flawed--Sinners Review: I Don't Know If I Love It More As A Crime Movie Or A Horror Movie. That's Awesome As far as capturing a dual performance is concerned, Ryan Coogler flexes his filmmaking skills early in Sinners, with the very first scene between Michael B. Jordan's twin brothers Smoke and Stack featuring a moment where one lights the other's cigarette. There isn't a drop of artifice to it (certainly no faint line down the middle of the screen that the characters never cross), and the work has you see the two men independently, wearing stylish, color-accented suits and waiting for the opportunity to close the real estate deal that is the first step towards achieving their dream. Our eyes tell us that we are watching two brothers, but it's truly Jordan's performance that maintains the illusion throughout the horror/crime epic. A lot of movies that utilize a dual performance in their storytelling use it as an opportunity to showcase a star's range. The same actor plays two characters who look alike but otherwise have wildly divergent personalities – and it's often the case that they will be protagonist and antagonist (The Monkey presents a textbook example of this, with the shy, introverted Hal presented in contrast to the bullying, aggressive Bill). This is a significant part of what makes Michael B. Jordan's work in Sinners stand apart, however. They aren't a study of opposites; it's a masterpiece of realistic subtlety. Let's quickly examine who Smoke and Stack are. Elijah and Elias Moore are twin brothers who grew up together in the Mississippi Delta and are forever bonded from the trauma of their abusive father. They found freedom from that horror together, and when they matured, they chose to move to Chicago together to find their fortune. Their lives are intertwined from birth, and through their shared experiences, they developed shared goals. This is not a story for twins who mature in extreme contrast. But it's not as though Michael B. Jordan is playing two incarnations of the same character. If I can loosely play on the significance of music in Sinners, they are variations on a theme. Every person is wired differently, looks at the world through different eyes, and has experiences that impact their filters and behavior. In a dependent relationship, one's shortcomings can be compensated for by the other's skill. The blue and red accents of the costuming by Ruth E. Carter give away how Smoke and Stack fit this reality. We see this best expressed in their romantic relationships: the former having his history with his estranged wife, Annie (Wunmi Mosaku), the tragic loss of their child permitting Jordan to add extra layers of emotional depth; and the latter carrying on a fiery affair with the once-spurned Mary (Hailee Steinfeld), which ultimately leads to his monstrous transformation. Sinners presents an atypical version of the dual performance, and while I love what Christian Convery and Theo James do in The Monkey and how Robert Pattinson plays the various clones Mickey 17, Michael B. Jordan pulls off something special. And all of them are leagues better than what was attempted by all of the legendary talent behind the gangster film Alto Knights. To be blunt, there is no real reason why Robert De Niro plays both Frank Costello and Vito Genovese in Alto Nights, and that does nothing to help the performance's standing in this conversation. Unlike with The Monkey or Mickey 17 or Sinners, the characters are neither twins nor clones, and the real people on whom they are based have some shared features but are hardly identical. The filmmakers could have easily paired De Niro with another renowned actor from the gangster movie genre to amplify marketability, but they went with De Niro in a dual role as a hook. Or to use a more loaded, (very) purposefully negative term, a gimmick. Without a natural justification for the double duty part, there is an onus put on the characterization and performance to make it make sense, and that test is failed. The personalities come down to 'equanimity' versus 'anger management issues,' and neither possesses any particular charisma or dynamism to remind audiences of what made De Niro a legend in the genre. This particularly becomes clear in scenes where Frank and Vito sit down in scenes together, which never feel like anything more than a cinematic trick with the actor in costume and makeup talking to himself. It's been strange to see high-profile dual performances at a rate of one per month in 2025 so far, but it has successfully showcased fascinating utility for storytelling and has exemplified the best and worst way to do things. I'm not sure how many more of these movies we'll get in the rest of the year 2025, but I'll certainly be hopeful that they will all be more Sinners than Alto Knights.
Forbes
29-04-2025
- Entertainment
- Forbes
Rental Price Drops For Horror Hit ‘The Monkey' On Digital Streaming
Partial poster of "The Monkey." The Monkey — a hit horror thriller based on Stephen King's short story from Longlegs director Osgood Perkins — is now available to rent for much less on digital streaming. Rated R, The Monkey opened in theaters on Feb. 21. The official logline for The Monkey reads, 'When twin brothers find a mysterious wind-up monkey, a series of outrageous deaths tear their family apart. Twenty-five years later, the monkey begins a new killing spree forcing the estranged brothers to confront the cursed toy.' Written and directed by Perkins, The Monkey stars Theo James (Netflix's The Gentlemen) as twin brothers Hal and Bill, while Tatiana Maslany (She-Hulk, Orphan Black) plays the twins' mother, Lois, in flashback scenes. The Monkey also stars Christian Convery as the young versions of Hal and Bill, Colin O'Brien as Bill's estranged teen son, Petey, and Elijah Wood as Ted, who is married to Hal's ex-wife, In addition to directing the film and adapting King's book for the film's screenplay, Perkins also plays a supporting role in The Monkey as Hall and Bill's uncle, Chip. The Monkey was released on digital streaming via premium video on demand on April 4 for a purchase price of $24.99 and $19.99 for a 48-hour rental period. On Tuesday, however, the PVOD rental price dropped to $9.99 for a 48-hour period and $19.99 for purchase. The film is available on PVOD on such digital platforms as AppleTV, Fandango at Home, Prime Video and Spectrum. Filmmaker Osgood Perkins is the son of late Psycho movie icon Anthony Perkins and late actress Berry Berenson, whose credits include Cat People. Before his career as a filmmaker, Osgood Perkins' first credit in the movie business came as an actor as he starred as the young version of his father's legendary character, Norman Bates, in the 1983 horror thriller Psycho II. While Perkins has since acted in a variety of different film genres — his credits include the role of Dorky David in the 2001 comedy classic Legally Blonde — he hasn't strayed too far from his horror film roots, which includes a role in director Jordan Peele's horror thriller Nope in 2022. Prior to directing Longlegs and The Monkey, Perkins directed the horror films The Blackcoat's Daughter starring Emma Roberts, Kiernan Shipka, Lucy Boynton in 2015, 2016's I Am the Pretty Thing That Lives in the House starring Boynton, and 2020's Gretel and Hansel starring Sophia Lillis. Like Longlegs — which stars Maika Monroe as an intuitive FBI agent tracking down a devil-worshipping serial killer (Nicolas Cage) — The Monkey was a big hit in theaters and with critics. During its theatrical run, The Monkey earned $39.7 million domestically and nearly $24 million internationally for a worldwide box office tally of $63.7 million against an $11 million production budget before prints and advertising costs, per The Numbers. The film also received a 'fresh' rating from Rotten Tomatoes critics, who collectively gave the horror comedy a 78% 'fresh' rating based on 272 reviews. Audiences, however, gave The Monkey a 52% 'rotten' score on RT's Popcornmeter based on 1,000-plus verified user ratings. The Monkey is available for a reduced rental price on PVOD of $9.99 and a purchase price of $19.99 on Tuesday.
