Um Monstro no Caminho

There are a lot of strong opinions on this film in its early reviews. I just want to give a practical commentary on what I see.

This is a great horror flick with some heavy symbolism. It is a story about a mother and daughter who are terrorized by a monster when their car gets stuck. A lot of dudes (or women haters) seem to hate it (check the low reviews and notice the colorful words they have for women). As a dude myself, I had no problem watching a film from a female perspective. I rather enjoyed it and found it touching at times.

The characters are both flawed. I related with the daughter at times because I grew up with a flawed father. I acted and reacted a lot of the ways the daughter in the film did too. So from my perspective, there was some heavy realism in the backstory. I found the "boring" moments to be touching.

The practical effects are superb in my opinion. Some will disagree though.

Some of the writing is flawed in regards to character choices. I think discourse could answer some of the choices, but my fellow horror film nerds seem to be either accepting or spiteful of cliché character fails in the genre. I could see past them though for quality story though.

So if you don't get angry being put in a woman's perspective and like horror films, this should be right your alley.

I respect where Bryan Bertino was trying to go with this film, but he falls short. While he does gets a decent start on character development that mostly works despite some overwrought writing and acting, the static set piece and drawn out end battle bleed away any real tension. Flashbacks are overused and ultimately come too late and the well shot and creepy final locations overstay their welcome. Few films are able to pull off this Babadook-esque having your cake and eating it too morality monster mash, and despite a good college try, the Monster fails along with all the others.

As children, we often have irrational fears of things we have not being given a proper introduction to - We are told numerous stories, some still ignoring the lingering question we harbor deep within - Our Monsters Real? - Or an allegory of our very existence? This idea is effectively used in recent films such as, 'The Babadook', 'It Follows', 'The Witch' and 'Under the Shadow'. Director Bryan Bertino ('The Strangers') shares a similar notion of this with 'The Monster'.

Kathy (Zoe Kazan) a divorced alcoholic and inexperienced mother is taking her young and mature of age daughter, Lizzy (Ella Ballentine), to permanently relocate with Lizzy's father. While driving at night through a remote, rain-lashed forest, Kathy crashes into a wolf, which wrecks their car leaving them stranded for help - Waiting for a tow truck and ambulance. From here on, questions are raised - Where did the wolf come from? What was it running from? Where'd it get those deep cuts on its body? Or where did the body disappear too? Strangely these questions are not justifiably asked by Kathy, but by Lizzy.

The only voice of reason!

Ella Ballentine is the standout here - reminiscent of a young Reese Witherspoon. Inquisitive, timid, fearful and courageously carrying the weight of 'The Monster', as she has spent much of her youth taking care of herself - and her mother - Through flashbacks provided. One in particular truly showing her acting chops. Zoe Kazan also great as Kathy tries to maintain her sobriety while navigating and understanding the needs of her daughter - Yes an overused device in Hollywood - But effective still none the less.

Scott Speedman shows us halfway through the movie with little to say or do, perhaps a favor to Bertino, whom he directed in 'The Strangers'.

Cinematographer Julie Kirkwood offers very little to appreciate here - With Bertino not fully utilizing her until the third act - With a beautiful shot of the enclosed woods. The monster itself plays a minor role - As the full look of it seems rather cheap.

Overall 'The Monster' may not hold up well with most allegory horror films, but it will stand on its own merit for Ella Ballentine - As she comes face to face with the monster - Or are understanding of what it means to let go and grow up - Afterall monsters are only what we make of them.

The relationship between the mother and her child is the number one priority here. So while this is a horror movie (mostly in the psychological area), it is also a Drama. And some of the best Horror movies (that are not Slashers or particularly explicitly violent) have been Dramas at heart too.

And while I get that the child may seem annoying to some and some decisions made feel rushed, the casting was good and the script was decent enough giving them all something to play with (no pun intended). The movie is very dark (both in tone and in visual flair) and while it does drift into expected (read cliché territory) and has somewhat of a downfall towards the end (and maybe for some a slow beginning), overall the positive things do win over ...

Kathy (Zoe Kazan) is the alcoholic and smoking addicted mother of the young, but mature teenager Lizzy (Ella Ballentine). They live together since Kathy's husband Roy (Scott Speedman) left her, and she neglects her daughter. Kathy is supposed to drive Lizzy to her father's home in the morning, but she sleeps until late afternoon and they have to travel during a rainy night. While driving through a lonely road through the woods, Kathy hits a wolf that breaks her car, leaving them stranded on the empty road. They call 911 and while waiting for the tow truck and an ambulance, the wolf disappears from the road. When the tow truck arrives, the mechanic Jesse (Aaron Douglas) tells that he needs to fix the axle and an oil leakage to tow her car. While repairing the vehicle, a monster attacks him but neither Kathy nor Lizzy note. When they seek Jesse out, they realize that they are not alone in the spot. Further, Kathy learns that monsters do exist. Will they be rescued on time?

"The Monster" is an atmospheric, tense and melancholic low-budget horror movie. The dramatic story is supported by top-notch performances of Ella Ballentine and Zoe Kazan and a beautiful and sad cinematography. Scott Speedman participation is limited to a short cameo only to give his name to the credits. The slow-paced plot helps to create the creepy atmosphere and to show the relationship of Kathy and Lizzy. My vote is six.

Title (Brazil): Not Available