Un monstruo viene a verme

Can't remember the last time I cried in a movie theater, but man A Monster Calls perfectly sums up my biggest anxieties of growing up: the fear of loss, fear of change, that moment when you feel like you are never entitled to express your frustration that you become violent. The existence of this movie is more than enough for me. It's not quite subtle, though, but I didn't mind. Either way, I needed this. So it's like... Inside Out... and ParaNorman... and Bridge to Terabithia... except it's better... way better... Did I mention that it's also incredibly stunning? The acting is great: Lewis MacDougall is one of the most impressive kid actors I've seen this year, he amazingly carries this film that it would be a shame if he doesn't get nominated along with probably Felicity Jones.

Overall, it's powerful. It also gets a little too devastating. Even with all the pretty colors, it just straight-up acknowledges the pain and complexities of life and humanity. Reality stinks, but life's a journey. And dealing with it has always been a part of it.

(Saw this movie last month, but again, better late than never.)

"There is not always a good guy. Nor is there always a bad one. Most people are somewhere in between."

Before seeing the movie, I didn't know much about "A Monster Calls". The only information I got from it is that it's based on Patrick Ness novel and the trailer had a "Iron Giant" vibe to it. I also liked the director (Juan Antonio Bayona) previous movies, so I guess that's what peaked my interest in seeing it. And I came out pretty surprised of how good it was. Not just that, but how moving and heartfelt it was.

Juan Antonio Bayona is the type of director that knows how to tell a compelling story in his films. To screw lose the sentiment, until your eyes are filled with water to the point where you can't help but spill out. And in this movie he dose exactly that and how smart he was with it's decisions of the emotional scenes.

There's a lot of great actors in this and none of them are put to waste. Liam Nesson was excellent as The Monster. Sigourney Weaver was great as the Grandma. Felicity Jones and Toby Kebbell were also great as Connor parents. But I think the real stand is Lewis MacDougall as (Connor). Even at the age of 14 this kid literally carries this movie and really dose reflect Connor's inner conflict.

That's what I notice in Bayona movies. All of the kid actors in his movies are pretty solid and I would go as far to say that they better than the adults. This is very rare for me to say that, because most kid actors suck. Yes there are good ones out there, but only some, as most of them don't fully bring their all.

The visual effect's were pretty stunning and impressive of how it interacted with the real environment that it was in. In all honesty, I was pretty surprised. And what I mean by "surprise" is that I was expecting The Monster itself to be the only effect in the movie. Because The Monster tells three stories to Conner and all three are done in a visual dye artwork that's beautiful to look at. It's good to be surprise.

For problems I had with the movie are slim, but if I had to pick, I would probably say that films message can be a little repetitive and oblivious towards the end. I think that may bug some people. But still, it's a great message that's speaks the truth and actually sticks to it. I mean, if the message was terrible or nothing special, then this might be a big complaint. The film doesn't have an happy ending and neither a sad one. There's no Hollywood ending or anything like that. It would say it's mixed.

Overall rating: "A Monster Calls" is entertaining, sad, and unforgettable tale that sticks with you after it's over. The film tells the truth and nothing but the truth of life. You want everything to be alright for this kid, but you're left with a feeling of stillness. Like you can't do anything about it, even with all the magical things that's happening. It just gotta let it happen....

that's life.

A Monster Calls is the rare movie geared toward a younger demographic which refuses to pull an emotional punch. The movie explicitly states that the protagonist, Connor O'Malley, is "too old to be a kid and too young to be a man". The introductory tagline is the perfect way to relay the film's tone to the audience. From the brutally honest acting to the gorgeously animated "stories", A Monster Calls allows raw emotion to emanate from the experience. Magic on the screen happens due to the unique specificity of our hurt hero. The fantastical elements found in a typical family movie organically merge with the painful reality of adulthood. For example, a fight will begin building up in Connor and the anger will call out the monster. The monster is never a simple vicarious outlet for the young adult. Instead, the monster is a well-executed manifestation of perceived guilt towards a deeper truth. Liam Neeson's monster revels in the humanity of the moment while also holding a magnifying glass up to it. Life continues to get worse for Connor and each appearance leads to a gradual slip of harsh reality. Refreshingly, A Monster Calls never hides that uncovering important personal insight is a painful process. The climax makes up for one of the most touching revelatory moments in modern cinema. The value of the film is revealed in how both children and adults in the audience gain a better understanding of the inherently personal nature of grief. The way we deal with a loss can come across as something else entirely for ourselves. A wide release of the film will hopefully begin to kindle in an audience a desire for introspective cinema. In a sense, specific scenarios are able to paradoxically tap into a universally human truth. Movies like A Monster Calls show a better alternative to the next soulless generic blockbuster movie.

I do not know the novel of Patrick Ness. So, to define it as a good or bad adaptation is impossible. I know only than it is a simple amazing film. For so many reasons.

• I know, very well, the taste of angry. The film gives its nuances in almost cruel manner;

• I know the profound fear of loss. The film gives the fair nuances of it.

• Lewis McDougall is great as Connor. And , just great.

• It is a nice gift to discover the work of Sigourney Weaver and Felicity Jones. Or the short appearence of lovely Geraldine Chaplin.

• It is a film to remind and to feel it . A sort of confirmation of truths deep inside you.

• At the end, you know- it is a film about yourself . The connection with th family members, the selfishness, the so useful imaginary friend, the stories passing generation by generation.

So, more than a good film with spectacular special effects. A film about ...true truth.

A scary looking tree in the middle of a graveyard haunts the dreams of a little boy, Conor, who already has enough troubles while awake. A mother (Felicity Jones) with terminal cancer, bullies, absent father, dictatorial grandma (Sigourney Weaver) and now a threatening monster (Liam Neeson) to visit him at night; poor Conor does not have a lot going for him. On the plus side, the monster has only three stories to tell, yet when finished he insists that Conor tell a story of his own that reveals the truths in his heart. The monster's stories touch upon themes gnawing at Conor; the good and bad in every person, the consequences of actions and an invisible man who becomes more invisible by being seen. Still Conor refuses to acknowledge the truths. "You don't know me," he shouts "these stories are not real!" The monster then lays down the law, "I know everything about you, now speak the truth or die!"

A Monster Calls includes some amazing visual effects, fantastic scenes and brilliant dialogue. The film explores in compelling and thrilling ways how fantasy combines with reality, how people deal with their fears (for better and worse) and the tremendous power of stories. The actors are convincing and captivating and Neeson's voice is mesmerizing. You'd rob a bank if his voice told you to. Animation is used to illustrate the monster's stories. A Monster Calls is based on a novel by Patrick Ness. Seen at the 2016 Toronto International Film Festival.