Whatever expectations had formed for me after reading the title and synopsis for Something of a Monster were far surpassed in a pleasantly surprising way.
A refreshing take on a story of grief and loss, Amelia (Ashley Bacon) is sent to a remote inn located in the Catskill Mountains of Upstate New York by her mother-in-law (Marilise Tronto) after experiencing a phantom pregnancy. Her husband Josh (Greg Brostrom) is unwilling to stand up to his mother and lets Amelia leave. In her exile, she desperately attempts to prove that she is not crazy. She must undergo a painful emotional journey as she struggles to come to terms with the several medical results that have determined that she is not pregnant, all while being the target of a violent woman who lives in the woods.
The tone of this film is set immediately by moody shots of rolling fog and a dramatic score. Combined, these elements create a somber and unsettling feeling that indicates to the viewer where the story is headed. The setup, both visually and in dialogue, is very effective. There is an in-depth exploration of the situation that Amelia has found herself in as the film delves into the family dynamics that led to her time in isolation.
This is an incredibly emotional story- far more than I had anticipated. The character of Amelia is complex in her grief and staunch in her refusal to believe that she isn’t pregnant. This complexity gives her the depth necessary to allow the film to subvert some of the classic tropes. The jarring truth of this story is that the only “monster” is human, not supernatural. The monstrous elements lie in human failure and lack of compassion for the grief and struggle of others. Amelia is able to connect intensely with the woman in the woods. She sees herself in the supposed “monster”, and her empathy is the weapon that ultimately grants her a way out of a dangerous situation. There is not so much a monster for the protagonist to beat as there is a monster in need of being healed. In her connection with the woman in the woods, Amelia is able to find catharsis for herself.
All, the film leans more into its drama elements than thriller or horror. Influences of the other two genres are certainly still there, and very visible, but the emotional journey of Amelia as she navigates the betrayal from her own mind and body, as well as her husband, is the standout of the film. If you’re looking for a gorey, pulse-racing tale, this might not be the film selection for you. However, though I found drama to be the most prevalent genre, there was still a remarkable use of psychological elements to craft a suspenseful, intriguing, and gripping plot.
The events of the film are set to take place in the 1980s, and it does a decent enough job at portraying the desired time period that nothing pulls you out of the story (though, I wasn’t alive yet and wouldn’t be for approximately 20 more years, so I’m not sure that I’m the best authority on that). With my limited expertise, I can say with certainty that there was no doubt for me as to the general point in time we were supposed to be glimpsing into.
With a movingly hopeful ending focusing on Amelia’s personal growth, Something of a Monster wraps up with no loose ends or questions left unanswered, which, for a movie of this genre mix, is not as common as it should be. This film was certainly not what I thought it would be, and I’m happy that it wasn’t.
