The new work from Chris Silverston (All Cheerleaders Die, I Know Who Killed Me) opens with a boldness that immediately captures the audience's attention. A mother and her son arrive at a lakeside house in 50s America, fleeing past traumas that centre upon an absent patriarchal figure. This new abode seems to offer a respite and a new start, but instead comes with a monster that emerges from the aforementioned body of water, with designs on the younger member of our party.
Monstrous comes with a raft of ideas, with much of the first half proving fascinating as we draw inspiration from previous horrors (the monster movies of the 50s, elevated horror that grapples with real world issues) that mixes with some admirable directing choices. Yet as the narrative weaves its way to its conclusion, the tension seems to dissipate as references get in the way of something more interesting to say.
Having basically stolen the show in Yellowjacket, Christina Ricci once again shows her acting prowess, and much of what makes Monstrous so compelling comes from her turn. It makes the film a complicated piece and goes someway to paper over some of the narrative’s inconsistencies. You stick around to the conclusion mostly because Ricci is such a great watch, adding emotional weight and heft to proceedings. You only wish that what surrounds her came close to matching her talents.
Silverston’s latest feels like it squanders an intriguing set-up and great lead turn with too many tropes and themes that lack a path to fulfill their potential. Monstrous finds itself stuck between the more enjoyable aspects of a monster movie and the thematic weight of more modern works. Some great design work can’t hide a horror that leaves the viewer eager for something a bit more satisfying in its conclusion.
Monstrous comes with a raft of ideas, with much of the first half proving fascinating as we draw inspiration from previous horrors (the monster movies of the 50s, elevated horror that grapples with real world issues) that mixes with some admirable directing choices. Yet as the narrative weaves its way to its conclusion, the tension seems to dissipate as references get in the way of something more interesting to say.
Having basically stolen the show in Yellowjacket, Christina Ricci once again shows her acting prowess, and much of what makes Monstrous so compelling comes from her turn. It makes the film a complicated piece and goes someway to paper over some of the narrative’s inconsistencies. You stick around to the conclusion mostly because Ricci is such a great watch, adding emotional weight and heft to proceedings. You only wish that what surrounds her came close to matching her talents.
Silverston’s latest feels like it squanders an intriguing set-up and great lead turn with too many tropes and themes that lack a path to fulfill their potential. Monstrous finds itself stuck between the more enjoyable aspects of a monster movie and the thematic weight of more modern works. Some great design work can’t hide a horror that leaves the viewer eager for something a bit more satisfying in its conclusion.