This monkey isn’t a toy; it’s a bloody funny Stephen King gorefest.

“The Monkey” is based on the Stephen King short story which was published as a booklet included in Gallery Magazine and later revised in King’s short story collection “Skeleton Crew.” Now, this story has been simplified into a movie, directed by Osgood Perkins, fresh off his success with “Longlegs,” and it’s a lively follow-up.

This toy monkey is no toy, nor is it one of Lotso’s henchmen in “Toy Story 3.”Rather, it’s a satanic doll that gruesomely murders anyone after someone winds up the key and it finishes banging on the tin drum. The original toy is a cymbal-banging toy, but because the Walt Disney Company owns rights to the toy (kudos to “Toy Story 3”), they had to give it a drum. The deaths in this movie are like if the Devil caused all the murders in the “Final Destination” franchise. Meaning-they’re gruesome, over-the-top, and bloody funny. And the posters say: “Everybody Dies and That’s ****ed Up.”

But not everyone dies. You ask the monkey to kill someone you despise as much as you want, but it only kills who it chooses to kill, and even if you do break it or lock it away, it will come back to kill again.

We meet twin brothers: the lonely Hal and the jerky Bill (both played Christian Covery from “Cocaine Bear”). Hal wears glasses and is belittled by Bill, who is 3-minutes-older than him, which makes him “the next of skin,” and calls him names like “dumb ass.” Well, that makes sense.

The earlier scenes feature Hal being bullied by the school girls, who look like “Shining” descendants with their dispositions and assault him with bananas and insults. And he gets no sympathy from their cynical mother (Tatiana Maslany) nor their relatives-particularly Aunt Ida (Sarah Levy, daughter of Eugene Levy) and Uncle Chip (Perkins himself). The twins find themselves dealing with the monkey and whatever horrors it unfolds for them.

Hal (Theo James), in his adulthood, has a son named Petey (Colin O’Brien) whom he only visits once a year for the sake of his protection, but he’s poised to lose him to his ex-wife’s new husband (Elijah Wood). He’s also withdrawn from Bill (also James), but is called back into his life thanks to that monkey.

There are parts that lag on and lack the kind of ambiance that “Longlegs” possessed, but a lot of “The Monkey” is wickedly funny and bloody entertaining, and I like how Perkins transitions from a horror murder mystery film to a horror comedy that loves all the gruesome violence without caring about how the audience would react to them. And it’s funny, considering that this very same month, we also have the slasher comedy “Heart Eyes,” which is about a killer murdering love birds on Valentine’s Day. Sometimes, they can be random people or the right targets. This monkey has his own targets, and some of them deserve to die. I can’t say who.

James and Covery both play the twins young and old with the right special effects in the same room, and with the right consistency on their own terms. The childhood sequences are unpredictable, and the adulthood scenes have lots of questions about their directions in life. And I like its choice of cameos like Wood and Adam Scott (as the twins’ absent father).

Ever since “Longlegs” came out, it received some polarizing responses from movie goers based on its direction and outcome. I, in my views, was looking at it from a different angle. And I’m not sure how movie-goers will view “The Monkey,” but I’m pretty sure they’ll laugh and have their comments. Some of which may drive others bananas. But speaking for myself, I still think Perkins has a voice in cinema-the bloody cinema if you will.