R E V I E W S

Monkeybone (2001)

Starring: Brendan Fraser, Bridget Fonda, Chris Kattan, Rose McGowan
Director: Henry Selick
Rating: PG-13

Studio: 20th Century Fox

Review Posted: 4.20.01

Rating: 1.5/4

By Michael Brendan McLarney.

"Strange Psychological Baggage"

A few months ago while exiting a theatre, I overheard a movie patron lamenting about the current state of Hollywood movies. "Only when a film is created that doesn't pander to any particular kind of audience can it be considered true art" was his statement, if I recall correctly.

I thought about the above observation quite a bit while viewing "Monkeybone," a movie that certainly fits his description of genuine artistic expression. It's not a kids movie, despite the trailers and television ads that make it look so. But it's not really a movie for adults, either. At least not for those who feel a strong need to get the most from their movie dollars. On the contrary, the filmmakers seem to be aiming for the "Rocky Horror" crowd.

Brendan Fraser plays Stu Miley (S-Miley, get it? ... "ba dahm bump, tsh!"), an emotionally disturbed cartoonist whose latest creation has made him an overnight success. The obnoxious, sexually charged cartoon character Monkeybone (voiced by John Turturro) has taken the nation by storm, resulting in the inundation of marketing gimmicks, many of which are met with gleeful anticipation by Stu's manager (Dave Foley). But Stu wants nothing to do with his newfound success. Instead, he longs to marry the woman who rescued him from his inner demons. She is sleep deprivation specialist Dr. Julie McElroy (Bridget Fonda). Before he has the chance to propose however, an accident has launched Stu into a coma. Now, he finds himself "Downunder" - a creepy never-never-neverland where coma victims reside until they are given a kind of "get-out-of-coma-free pass" to re-enter the world.

"Downunder" is the kind of place where emotionally tortured individuals are surrounded by tangible incarnations of the demons that haunt them. Here, Stu's creations aren't mere figments of the imagination, but exist as actual personalities, acting out all the flamboyant behavior only seen in the television cartoon. A conspiracy is brewing. Stealing an exit pass, Monkeybone departs from Downunder inhabiting Stu's body, thereby leaving the artist trapped in coma land. His goal is to create more nightmares, satisfying the demons' need for emotional masochism. Meanwhile, Stu must find a way out of Downunder, even if it entails making a deal with Death.

The movie houses an abundance of ambition but very little appeal. Director Henry Selick ("The Nightmare Before Christmas") possesses a distinct visual flair, skillfully combining animation and live action in a couple scenes. In addition, Sam Hamm's screenplay does contain some clever comic touches, especially in a scene where Stu meets other "prisoners" of Downunder whose bodies have also been inhabited by quirky demons. They include Stephen King and Lizzie Borden. However, the few interesting touches (in addition to the presence of the comically-skilled Fraser) don't keep from film from imploding on the screen. On some level, a movie must connect with the viewer. That is true even with comedies, for the only way to launch successful gags is to gain the audience's interest first. There's just nothing to connect with here. I wasn't being facetious with the "Rocky Horror" comment earlier.

Unbeknownst to the movie-goer who made the remark about mainstream movies pandering to a distinct audience, Hollywood is not about art. It's about profits. And while that makes the movie business a very immense target for social, political, and economic criticism, the quest for green can sometimes work in its favor, forcing filmmakers to ponder the notion of what truly appeals to a potential viewer. But like any profit-seeking business, progress can be marred by bad decisions. "Monkeybone" was an inauspicious business.

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