Monster: Asesina en serie

Based on a true story this movie is about Ailen Wuornos, a prostitute, who killed quite a few men who she "serviced". She was convicted in 1990 and executed in 2002.

She's played by Charlize Theron who's just incredible. It starts off just before she began murdering men and has met Selby (Christina Ricci), an adorable lesbian who loves her. It basically chronicles their relationship and what led Wuornos to kill these men. Also she reaccounts her childhood and how she became a prostitute. It's more than a little depressing--it's a tragic story of a beaten woman who saw murder as the only way out. Only three murders are shown and that's more than enough. The violence is not glorified--it's bloody and sick and one is the most harrowing thing I've seen in years. What's so fascinating (and scary) about this film is that I actually began to sympathize with Wuornos! While I could never condone her actions you can see clearly what led her to it. This is a rare film--it makes a serial killer look sympathetic.

Theron is a wonder in this--she became Wuornos (who was very unattractive). She gained weight, shaved off her eyebrows, colored her hair, used contacts and dentures to change her appearance completely. Never once did I think I was seeing Theron acting--she BECAME Wuornos. A great performance--she'll easily get the Oscar for this one. Ricci is also good here. She's been ignored in the press but she nicely underplays the role of Selby and is a perfect contrast to Theron's acting. Also nice to see Bruce Dern in a small role.

Music is used very effectively here. They play songs of the time it took place (1980s) so you know when this is happening and also nicely complements the actions on screen (especially with Journey's "Don't Stop Believing").

A very good movie but a very depressing one. Proceed at your own risk.

Charlize Theron's performance in this movie was so incredible I felt compelled to shout about it to every single person I know. I was so blown away by her that her performance actually reignited my own passion for acting and made me realize why I'm trying so hard to break into this business and to do it well. I never thought that Charlize Theron (of whom I was never a big fan) of all people could make me remember what movie-making is all about. With one role, she's converted me into a life-long fan. If Oscar means anything anymore, she deserves that award, hands-down. The movie itself is one of the most gripping and emotional stories I've ever seen in a film, and, true or not, its right up there with the other great indies depicting the sorry lives of Middle-Americans, such as Boys Don't Cry and, ironically, Monster's Ball. I wept straight through the last twenty minutes of this movie, continued weeping intermittently throughout the day, and wept some more about it during my preparation for acting class the following day. Before I saw the film, I saw Charlize on The Daily Show, talking to John Stewart about how Aileen Wuornos' story (and I'm paraphrasing) forces one to re-examine how we might label someone "evil" for doing horrible things. I thought, that's just a bunch of liberal bulls**t. Then I saw the movie. Like I said, we can't know how much of the movie is one-hundred percent factual, but it's almost scary how little that mattered to me after I left the theater. This film moved me so much that I actually decided then and there that I would, that I would have to, think a little harder the next time I thought of someone as "evil". If the goal of the filmmakers was to just try to get people to think about the fairness of the death penalty, I believe they succeeded.

I had my reservations before watching this. I was sceptical cause of the buzz. Everyone was talking about the way Theron, "the most gorgeous woman alive", transformed herself into Aileen. A prostitute who killed several clients. I thought Theron was just looking for success, another ambitious actress wanting a gold statue. That director Jenkins had a reason to make the film didn't matter for me then.

But everyone involved in this film deserve the credit. Monster is gripping. It's a film that makes you feel almost every emotion you can think of: sadness, anger, compassion, wrath. It confuses you. Do you identify with Aileen or do you disapprove of her actions? I guess both. You despise her for killing the men. But the film challenges that. You can almost explain (and thus condone) her actions. I guess the one thing that stayed with me was that it occurred to me what it must feel like to be really and utterly alone in this world.

An intense, depressing movie. It sticks pretty close to the facts but focuses chiefly on the relationship between Charlize Theron as Lee and Christina Ricci as Selby. The police are hardly there at all. In fact, neither is anyone else except for Bruce Dern who makes one or two short but welcome appearances.

It could easily have been a by-the-numbers TV movie. (Come to think of it, it has, hasn't it? With Jean Smart?) But the production values are good, and the time and money has been spent on this film that we usually associate with feature films.

The cinematography is outstanding. The shots of Lee near the end of her rope, hitching on a foggy blue nightime Florida highway look like a desktop theme from some arty horror/occult site. The script doesn't have many tag lines. No "Rosebuds" or "I coulda been a contendah." Nor is it folksy or catching in some other way. The dialogue follows the story in being pretty straightforward and without much in the way of noticeable touches. The director should be commended on her handling of two things. One is the explanation for Lee's crimes. None is given. There is a short scene in which Lee tells one of her johns about her miserable childhood, but the abuse excuse is vitiated by Selby's mother, an orthodox and unimaginative woman, who says simply that lots of people have hard childhoods without growing up like Lee. And the men are not all turned into sadistic hogs, which must have been a temptation for the writers. The second virtue in the direction is its management of the murders. Instead of exploding heads, there are a few squibs, and usually not even that, before the victim yields to the fathomless, cool, enwinding arms of death. The themes explored here are not so much violence as love and desperation.

Ricci looks the part, with her broad forehead and tiny lips, but comes across more as a Valley Girl than the kind of outcast who would pick up and move off with someone like Lee.

Which brings us to Theron's performance as Lee. It's startling, of course, to see a glamor-puss like Theron so thoroughly deglamorized. It's the kind of performance that wins Academy Awards -- lesbians, the height-challenged, autistics, all have won awards in recent years. Theron deserves recognition for her effort too, but not just because of the makeup and wardrobe. They're all splendid. Makeup has shaved her brows to a Mona Lisa extent and turned her face just blotchy enough and given her a raggedy set of teeth.

But that's not all that has made her performance as the central character so memorable. (She's in almost every frame.) And it isn't the thirty or so pounds that she put on for the role either. What's so homeric about that? I can put on thirty pounds without blinking an eye, and enjoy doing it. Heck, I can put on forty or fifty if she wants to get into a peeing contest. No -- it's Theron herself who MAKES the character. She's great, particularly in her physical manifestation of Lee -- her body language, for instance. Instead of coasting through the role, she animates it. The way she struts around with her shoulders thrown back and her face down, emphasizing her several chins and the girth of her neck. Maybe it takes a profession ballerina to figure out these little techniques. Her voice isn't as coarse as that of a hooker who constantly puffs on cigarettes, but Theron does what she can with her own. She overcomes her native South African speech with no trouble and introduces us to a breathless bravado that she's never used on screen before -- not that I know of.

Her movements, her speech, her dreams, are filled with a desperate illusion that doesn't exactly make us feel sorry for her but does make us worry for her -- that she might, for instance, start screaming at any minute and never stop. A nerve-racking picture of a ruined soul.

Is it worth seeing? Absolutely. You won't learn too much about how Aileen Wournos turned into the person she did. Even the narrative itself is a little confusing at time, so that you can't be sure where Lee and Selby are at given moments. But it's Hollywood professionalism at one of its rare high points. It's made by a mature team for an audience of adults. Refreshing.

Let me begin by saying that Charlize Theron gives the best female performance that I have ever seen on film. Theron deservedly won the Best Actress Oscar for her portrayal of serial killer Aileen Wuornos. I can not recall a performance, male or female, with such raw intensity. For those who may not know, MONSTER is the true story of Aileen Wuornos, a Florida prostitute who was executed a couple of years ago for killing men that picked her up on the highway. However, this is much, much more than a deranged serial killer flick. This film shows us, very convincingly, how a person can be led to a life of violence. Aileen had an awful childhood and an awful life. She was molested as a child by her father as well as other male relatives. As a child, she was surrounded by abuse, drug addiction, and domestic violence. Men horribly abused her as a child, and she began prostituting at age thirteen. In her later years, Aileen became a prostitute because it had been grilled into her head all her life that she was just a whore. As MONSTER opens, Aileen's car breaks down and she wanders into what she doesn't know is a gay bar. Sitting alone at a table is lonely, confused lesbian Selby (Christina Ricci), who strikes up a conversation with the dirty, unkempt Aileen, who washes her hair in gas station sinks and uses the hand dryer to fix her hair. After many drinks, Aileen and Selby become close, and soon enter into an unhealthy, torrid, tragic love affair. Selby is naive and has always been sheltered, and she just wants genuine love. However, Aileen has issues that Selby doesn't see at first. There is certainly nothing positive or redeeming about serial killers, but you often feel yourself having a small bit of sympathy for Aileen because you realize why she kills the men who pick her up...SHE HATES MEN. Aileen has always hated men, and the only love scenes in which any tenderness and emotion is shown are the lesbian love scenes between Aileen and Selby. You also feel some sorrow for Aileen because she DOES want to improve herself, but has no way of knowing how to do so. There are scenes where Aileen applies for jobs because she really wants to do right, but she is always rejected. She applies for secretarial jobs at law offices and is laughed right out of the building while she curses and screams at everyone. She doesn't know any better because she has no social skills. In one of the most powerful scenes, Aileen is hitch hiking and is picked up by a genuinely nice man who offers to help her. He is sincere and doesn't want sex. He is a decent man who offers a helping hand, but Aileen just can not trust any man. She tells him she doesn't want to kill him, but because her previous killings are all over the news, she has to kill him so she won't be identified. Selby, meanwhile, learns of Aileen's murderous rampage and tearfully decides to go to the authorities. What makes this film so powerful is that this is A TRUE STORY. Aileen Wuornos had a miserable life. Life dealt her a s@@@@y hand. She never had a chance. Growing up, nobody....teachers, parents, relatives....reached out to her. You can't excuse a serial killer rampage, but this is the only "serial killer" film that I have seen that at least offers some reasoning behind the insanity. Again, this is intense, and Charlize Theron is AMAZING.