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Monsters | Euro Palace Casino Blog

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The titular monsters certainly are an integral force in crafting and driving the films narrative but they are not its real focus, this is where the two films differ.

Instead we are made to follow American investigate journalist Colbert who is tasked by his employer to find and then accompany his daughter through the infected zone and into the United States before the beginning of the creature's active season.

It's a sparse plot and one that leads to a lot less action than you would expect, but it does work as the spinal centre of the film. Instead of confronting the creatures at every turn, discovering their origin, their weakness, their queen and then eventually using their knowledge to develop a dues ex machina and save the day like the big damn heroes of every similar film, these two simply exist in the universe like we do ours; as everyday citizens living their everyday lives.

That's not to say though that the film is in any way banal; in fact their journey through the zone allows for a lot of stunning shots, shocking stories and silent terror, it's just that these occur in a different tense then we are used to.

We are, like the protagonist Colbert, journalists in this world; we follow in the wake of the story, catching occasional glimpses of it from afar but mainly focusing on who and what it leaves behind.

The monsters, their destruction and the alternate world that they destroy are all filtered through the protagonists before they reach us upon the screen.

It is their reactions to the events that elicit responses in us and their responses that in turn become our emotions.

It is essential that the two leads be well crafted in order for this method to work. Thankfully then, they are; Hitting that perfect ratio of realism, stereotype, flaw and likability.

They are the kind of characters that you would happily follow within the comparatively banal confines of a drama and so here, in this realm of heightened stakes, they become doubly interesting.

The real surprise of the film for me was just how enjoyable, and oftentimes moving, it was to take this trip with the leads; to the point that by the time the ending rolled around I almost echoed their calls of 'I don't want to go home'.

That dreaded disillusionment, the return to drudgery after a distinctly powerful event is something I can really understand but it is something uncommon to see in cinemas.

Edwards isn't the only person to be thanked for this though; while his writing is great it's the two lead performances that are really essential and I think these two will be ones too watch in the future.

While I've made it quite clear that personally I preferred the human side of the story - that I could take or leave the monsters in comparison — i know there are many others around here who will not feel the same, others that are in it for the monsters Spaulds certainly comes to mind.

While I wouldn't advise taking that particular approach with this particular film, I don't think any of you creature features that do will be disappointed with what you see — and yes, you do see.

The creatures are as well designed and animated as the characters. They feel totally alien to this world yet retain a certain sense of plausibility, as if they could feasibly belong to some other.

Their power is also very well handled, being threatening enough in every situation but invincible in none. There is then a consistency to them that doesn't exist in a lot of other creatures, which sometimes feel like they are acting in accordance with the plot rather than their own rules or reality.

While this may get some of you salivating I have to say again that well designed or no these creatures are little more than an external force, they exist off screen much more than on.

It is then, an ironically titled film I guess because the Monsters of the title are anything but central. I think the real test should be whether or not you would go and see this film were it called 'Humans'.

Those that do, more specifically those that make their way all the way through to the final act, will be in for a treat as the film has a handful of utterly sublime moments.

The ending itself was a little abrupt but I think it's pretty clever, probably warranting a second watch.

Definitely warranting a first watch. Start your free trial. Find showtimes, watch trailers, browse photos, track your Watchlist and rate your favorite movies and TV shows on your phone or tablet!

Keep track of everything you watch; tell your friends. Full Cast and Crew. Six years after Earth has suffered an alien invasion, a cynical journalist agrees to escort a shaken American tourist through an infected zone in Mexico to the safety of the U.

X Top 20 Poszt-Apokaliptikus Filmek. Share this Rating Title: Use the HTML below. You must be a registered user to use the IMDb rating plugin.

Hours later, Magnet Releasing acquired the rights to distribute it in North America. It had a limited release there, beginning on 29 October , followed by a theatrical release in the United Kingdom on 3 December Dark Continent , a sequel, was released in the UK on 1 May After a NASA deep-space probe sent to verify the existence of extraterrestrial life in the solar system crash lands in Mexico , extraterrestrial life forms spread throughout the Mexico—United States border region, leading to the quarantine of the northern half of Mexico.

US and Mexican troops battle to contain the creatures, and a huge wall stretching along the border ostensibly keeps the US protected.

Andrew locates Samantha in a Mexican hospital and the pair board a train, until learning the tracks ahead have been damaged. They discover that if they do not leave the country within a few days, sea and air travel will be blocked for six months.

Andrew and Samantha decide to hitchhike their way to the coast. Andrew buys Samantha an expensive ferry ticket for the next morning.

After enjoying the local nightlife together, Andrew sleeps with a local woman who steals their passports. Unable to board the ferry, Samantha is forced to barter her engagement ring for passage through the quarantine zone.

They travel by riverboat until being transferred to a group of armed escorts who are to lead them overland to the Mexico—US border.

The convoy is attacked by the creatures. Andrew and Samantha escape, but none of the guards survive. Continuing on, they discover the bodies of dead travellers and bond at the top of an ancient pyramid in sight of the US border wall.

By the time they reach the border, the creatures have crossed into the United States. Andrew and Samantha travel through a severely damaged, evacuated town in Texas , find an abandoned gas station with power and call the army for help.

While waiting for help to arrive, they make phone calls to their respective families. A lone creature silently approaches the station.

Hiding, Samantha observes several tentacles exploring the inside of the store, seemingly soaking up a television's light. Samantha quickly unplugs the television and the creature loses interest.

Another creature appears, and they communicate with one another and possibly mate via light impulses. The creatures leave as the military arrives.

Samantha and Andrew kiss before they are rushed into different vehicles. The chronological ending takes place at the beginning of the film, filmed in green night vision sight, when the military rescue team is attacked by a single creature.

While attending university in , Edwards made a short monster movie set in suburbia. He initially wanted to expand on that idea, but after the release of War of the Worlds , he believed it was "not going to be special anymore".

Considering that the film would have to be low-budget, Edwards decided to embrace the found footage style of The Blair Witch Project , and mix that element with his original concept.

After learning about Cloverfield 's similar premise, he abandoned this idea and moved on to a concept where a "war [is] going on somewhere on the other side of the world, and no one cares".

Edwards conceived the film while watching some fishermen struggling to haul in their net and imagining a monster inside of it.

He had the idea to make a monster movie set "years after most other monster movies end, when people aren't running and screaming, but life is going on" and "where a giant, dead sea monster is considered completely normal".

Edwards pitched his idea to Vertigo Films , where producer James Richardson asked him to watch In Search of a Midnight Kiss for an example of low-budget filmmaking.

Edwards was impressed by McNairy but wanted a real couple to portray the lead characters. He changed his mind after meeting them and cast them both.

For instance, the film was shot using digital video cameras rather than the more expensive 35mm film and was edited on a laptop computer. Every night after shooting, editor Colin Goudie and his assistant Justin Hall would download the footage so the memory sticks could be cleared and ready for the next day.

The original cut was over four hours long but was trimmed to 94 minutes after eight months of editing. He and the film's producers disagreed about the placement, so he decided to put the chronological ending of the film at the beginning and end the film immediately after Andrew and Samantha kiss.

Edwards created the visual effects himself using off-the-shelf Adobe software, ZBrush , and Autodesk 3ds Max. He had five months to create all visual effects shots, a process he undertook in his bedroom.

He produced two shots a day until he reached the first creature shot, when "suddenly two months went by and [he] still hadn't finished a single creature shot"; Edwards stated that the creatures' visual effects were the most challenging element of production.

Due to time constraints, the sound effects had to be produced before the visual effects. Vue Entertainment and Cineworld Cinemas set up 'infected locations' which gave users access to exclusive Monsters content and the chance to win random on-the-spot prizes.

Hours after the film's screening at South by Southwest, Magnet Releasing acquired the distribution rights in the United States.

Tom Quinn, an executive at Magnet, stated that they "were blown away by Monsters " and were "thrilled to bring his vision to American audiences.

The film was released in the United Kingdom on 3 December The film was released in North America on 29 October Monsters received generally positive reviews from critics.

The site's consensus states: Roger Ebert awarded the film three and a half out of four stars, praising its focus on "characters, relationships, fear and mostly unseen menace" rather than its visual effects, as well as the acting.

He also commended Edwards for "evoking He also praised the visual effects, Edwards' cinematography, and the "simmering" chemistry between McNairy and Able, concluding that the film was "both shoestring and sci-fi filmmaking at its best".

He criticised the "tentative" and "alienating" performances of McNairy and Able, but stated that "the overall picture still impresses".



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