An engaging and emotional thriller

A film titled Monsters carries with it a certain level of expectation to show something – well – monstrous. Considering this, the common criticism that this micro-budget indie film lacks exactly that is fully understandable. Make no mistake, only $200,000 was spent on the production which is nowhere near close to most CGI-loaded films, and this is not your regular “mutant monsters are taking over the planet and killing our protagonists one by one” kind of film. Instead – and this is what has been often overlooked – Monsters relies on the consistent, underlying tone of fear.

There are no jump-scares, as monsters are mostly heard and not seen, and are never hurled in front of the camera. So much can be unsettling about odd noises, that no forced or unnecessary gore is needed to have that profound chilling effect. This is something that has perhaps been forgotten by the Hollywood thriller genre. The Ring, to take a popular example, was generally well received – but its predecessor, the Japanese original, Ringu, is widely considered the better film, partly for not showing the face of its chilling ghoul. For those ready to explore a different side of the sci-fi/horror/thriller genre, you will be pleasantly surprised at this slightly odd but engaging film mixes several different themes and still makes it work.

This slightly odd but engaging film mixes several different themes and still makes it work

Monsters starts off with how the aliens managed to land on Earth. Six years ago there was evidence of extraterrestrial life on Jupiter and the nosy humans had to send a spaceship to explore it. When it returns, it crash-lands in Mexico and brings with it some scary-looking ‘creatures’. Are they dangerous? Doesn’t matter. When they look like a cross between a spider, an octopus and a jellyfish, the United States government doesn’t think twice. They immediately seal off the area and start attacking. Gas-masks are essential and the area of infection stretches all the way across the US-Mexico border. The Americans have also built “The Wall,” a gigantic concrete barrier designed to keep foreign agents out.

As a photojournalist, Andrew (Scoot McNairy) is working in Mexico hoping to snap up some pictures of these allegedly dangerous and toxic creatures. One day he is given an inconvenient order that he cannot refuse: his boss’ daughter Sam (Whitney Able) is stuck in Mexico and he is asked to escort her safely back to the States. He reluctantly agrees, and the two set off on an uncomfortable journey back to their homeland. But complications arise as passports are lost, trains are stopped, and ships are missed. Time is running out and the only way back is through the forbidden hostile infectious zone. They are also joined by armed guards which show that this fenced-off terrain is not to be taken at all lightly.

For most modern horror films, many of the plot-points are so absurd that only the most senseless characters who go off in the dark on their own to “check things out” are ever used. But not with Monsters, in which everything was shot on location and, aside from the two relatively unknown actors, most supporting roles are played by local extras who happened to be there. The film benefits from having this authentic atmosphere and therefore there is no need for any pointless horror clichés that waste time. This is a deeply engaging emotional drama focusing on how romance takes place in the unlikeliest circumstance. Focusing on the steadily creepy ambiance by showing the many scenes of devastation, the couple’s Apocalypse Now style boat-ride, in which we see cars in branches, destroyed aircrafts and more evidence of horror, is a true testament to the very un-Hollywood idea that money cannot buy horror.

This is more than a mindless horror movie. The film moves gently, at a controlled pace, giving us the chance to reflect at the subtle political themes it evokes. Even when there is hardly anything happening on screen, so many ideas have been hinted that director Gareth Edwards knows how to casually hold our attention without using his film to load us with a heavy-handed political message. Immigration, war on terror and social intolerance are among the explored subjects that further enrich the film’s running time. McNairy and Able are convincing together and a lot of the improvised dialogue helps their relationship come off as unforced and compelling.

When the monsters do make their appearance in the film’s final moments, the result is beautiful and moving. Edwards not only acted as director, writer, producer, but also as the visual effects supervisor and he creates something completely original with the tiny budget. Are these monsters really a threat? Although many dead bodies are seen, there is a possibility that they could have been the result of the toxic weapons that the U.S. troops used to tackle the alien population. It is also suggested that the aliens are usually docile unless provoked, most likely by endless missile strikes. Who are the real “monsters” here? What starts off with such a simple, over-used idea spirals out into a web of so many potential debates making Monsters one of this year’s most pleasant surprises.