A medieval reenactment troupe find it increasingly difficult to keep their family-like group together, with pressure from local law enforcement, interest from entertainment agents and a growing sense of delusion from their leader.
When Allan becomes a quadriplegic he loses all hope for living until he meets Ella - a monkey trained to fetch and carry for him around the house, obeying him in all things. But Ella is part of another experiment, and when she starts responding to Allan's underlying rage and frustration she has the ability to carry out her master's darkest wishes. Written by
David Carroll <firstname.lastname@example.org>
Once, there was a Man whose prison was a chair. The Man had a Monkey; they made the strangest pair. The Man was a captive; the Monkey held the key. No matter how he strained, the Man couldn't flee. Locked in his dungeon, terrified and frail; the Monkey wielding power, keeping him in jail. The Man tried to keep the Monkey from his brain, but every move he made became the Monkey's gain. The Monkey ruled the Man; it climbed inside his head. And now, as fate would have it, one of them is dead. See more »
This was the first film role for Stephen Root, then a stage actor. According to Root, he had been instructed by his agent not to let the casting directors know that he was inexperienced with film as an actor. Root's official debut was Crocodile Dundee II (1988), which had been released in theaters a month before this film, despite being shot a month after it. See more »
Ella urinates on Allan as a sign of mating, but it's actually the male capuchin who urinates on it's mate. This would suggest that Ella is in fact a male capuchin. See more »
This film has been described as a "horror film for people who don't like horror films." That's an apt description for this underrated psychological/supernatural thriller from Pittsburgh's master horror director, George A. Romero. To date, this is Romero's only studio film, and he had to make numerous compromises to the finished product. (The originally intended ending would have been a killer.) That said, the film still comes off as smart and sharp, with some very good casting. (John Pankow, recognizable from "Mad About You," is really excellent here, and there are nice early performances from Stephen Root, Stanley Tucci, and Janine Turner.) And check out the amazingly good editing in the last 10 minutes. Overall, while this is not first-tier Romero, it's a terrific little horror film.
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