Monolith

Monolith borrows the core idea of Tony Burgess's novel Pontypool Changes Everything - as filtered and focused through the film adaptation, Pontypool (which, I would argue is better than the novel, which is needlessly overwritten and self-consciously haphazard) -and takes it in a very different direction. To be more specific about Monolith's story beyond what you've read in Letterboxd or IMDb plot summaries would spoil things. I've read some reviews that don't seem to like the ending, but I think these viewers have missed the point of the movie. It is heavily thematic, rooted in the sins of the past, whether terrible things thought or terrible things done, and the suppression of the related guilt. In one sense, everything in Monolith is overtly symbolic in how it relates to our world outside of the movie; but, within the movie's own world, there is no symbolism and suppressed guilt is literalized, shockingly so in at least one scene, in which a quotation from The Merchant of Venice mentioned at the beginning - "The truth will out" - is physically manifested. In the movie's world each person has their own hidden language - hidden even from the individual them self, or maybe hidden by them.

Well, I am being pretty opaque to avoid spoilers. The movie makes perfect sense within the above context and turns out to be very clever. About 2/3 of the way through I thought the movie was losing itself in a subplot, but no, everything that happens is integral to the story and themes, and essential to where the story ends up. Also impressive is the sustained sense of mystery and suspense, given that there is only one setting and that only one character appears outside of some very brief video snippets, texts, emails, and phone calls. The lead actress has to carry 90% of the movie.

Monolith is an impressive movie. It isn't as opaque or inconclusive has some viewers have said. Being very easy to miss amid the thousands of direct to streaming movies that drop each year, Monolith is worth seeking out for fans of sci-fi drama / suspense. It would make a great double feature with Pontypool.

Can I honestly urge you to put aside an hour and a half of your life to watch this? No, I don't think so. There's nothing wrong with this film. I am old, and remember radio plays (honest, they were entertaining, and tested one's imagination) and this feels like one of those. There's nothing 'cinematic' about it. It has one idea, and does it quite well. Should you be stuck inside on a rainy day and you've done all your chores, go ahead. You won't regret it. But going for a walk, tidying your house, finishing those jobs are more important.

Well acted, well presented, nicely structured. A good ending (if you've been paying attention to the hints).

After a career ending misjudgement, a Journalist uncovers a vague conspiracy theory through her podcast, as she digs deeper, she realises she's closer to the conspiracy than she first realised.

One of those films that you could easily dismiss as mehh, but if you stick with it, I think you may get something out of it. It held my attention all the way through.

Tagged as a horror, absolutely not, in no way, shape or form does this have a single scare, it's more a mystery, with sci fi undertones, you'll be kept intrigued enough, to want to hear the conclusion.

The twist at the end of the film was the highlight, and definitely the most unsettling sequence.

A very competent performance from Lily Sullivan, who carries the film pretty much single handedly.

7/10.

This is clearly not going to be for everyone. It's slow, gripping, story telling and it's not a horror film.

The whole film revolves around one central character and her efforts to revitalise her journalism career via a podcast on unsolved mysteries. It's excellently written and beautifully shot, featuring clever moments to draw you in.

If you want gore or adrenaline, this is not for you. It's an intriguing story with a satisfying climax that is another classic for the Aussie film industry.

The whole cinematic scope is thought well through and the screenplay is really tight - the film just works.

If you like a slow burn, a little sci-fi and some good story development, this is worth sitting down and watching.

Monolith maintains more of a single setting and person concept as it uncovers the mystery behind random blocks of black stone that just appear in people's lives.

The main character is a disgraced journalist that has moved to a new home that is more isolated to avoid the public. She is tasked with creating a new "mystery pod cast" and begins with these blocks.

As the film progresses, little details from talking with others who have found these blocks creates more uncertainty regarding what they are, why they are, and what do they do.

Monolith starts with a realistic focus on the main character and her stress from recent events of her problematic journalism. The film unfolds slowly around the bits of information and this leads us wanting to know more, but in this situation, there isn't clearer information.

If you are expecting tradition film plotting, don't watch this. If you want to experience the uncertainty and the mystery without needing an answer to resolve the tension, Monolith creates this atmosphere and suspense. Lily Sullivan as the lead character and only person on screen is captivating and holds this film with a tight grip even as she loses hold on her reality.