Monsters
A well-constructed and atmospheric movie – but only if you can approach it with the appropriate expectations.

When scientists discover signs of alien life in another area of the solar system, they send a probe to investigate. Mission accomplished, the probe accidentally crash lands back on earth with its cargo of alien life-forms spreading rampantly across a huge swathe of Central America. Six years later, world-weary photo-journalist Andrew (Scoot McNairy) finds himself assigned to escort Sam (Whitney Able), the daughter of his newspaper publisher, through the quarantined infected zone and back to the safety of the US border.

Lurking within writer/director Gareth Edwards’ modest sci-fi offering – set just a few years in the future  – is a well-constructed and atmospheric movie – but only if you can approach it with the appropriate expectations. Firstly, ignore the trailer, which is promoting this as “the best giant monster movie in years”. It’s not, and it’s not even trying to be. This is not a Cloverfield or Avatar, and if you can accept beforehand that you won’t see much of the titular monsters, you’ll avoid disappointment. Secondly, ignore the internet hype that claims the film was made for only $15,000: a viral rumour which implies a level of creative brilliance à la Paranormal Activity. Even if the unknown cast worked for free, the CGI and cinematography would bump up the budget considerably. Frankly, it’s more believable that giant octopuses lurk on the moons of Jupiter.

Finally, avoid comparisons with last year’s District 9, which explored a similar ‘aliens living on earth’ scenario, and even utilised similar marketing imagery. The two films are very different…um, beasts (no pun intended).

Monsters is simply a character-driven romance. Will Andrew and Sam explore their mutual attraction to one another despite the fact that Sam is trying to get home to her fiancé? That’s the climax to which the film slowly builds – not a ‘will they or won’t they’ defeat the monsters, who, by the way, possibly just want to be loved too.

If you’re looking for a film full of explosions and bloodshed, look elsewhere. If you can imagine a hybrid of The Fog and The Road, modest in its aims and pacing, you might just discover a film that leaves an appropriately modest, but undeniable, impression.