Review #1,473: 'Monsters vs. Aliens' (2009)

When it comes to big-screen animation, it's pretty widely accepted that Pixar frequently mines critical and commercial gold whilst their biggest rival, Dreamworks Animation, provides the fluff. Pixar certainly possess the largest awards cabinet, but Dreamworks know how to attract an audience, with the likes of Shrek, Madagascar, Kung Fu Panda and How to Train Your Dragon all developing into successful franchises with memorable characters. With the market now aggressively over-saturated with animated efforts for the whole family, a few of their titles have flown under the radar, and sometimes unfairly. 2009's Monsters vs. Aliens is one such example: a fun, funny and heartfelt throwback to 50's B-movies that spawned some spin-off shorts, but wasn't successful enough to warrant a sequel.

In California, Susan Murphy (Reese Witherspoon) is waiting to marry her vain TV weatherman fiance Derek (Paul Rudd), who has just announced the news of a job offer in another state. Before the wedding ceremony kicks off however, a huge asteroid crashes down on top of Susan. and although she appears unaffected at first, the mysterious energy given off by the rock causes her to grow to enormous size. With her head now peaking through the roof and the guests running for their lives, the military are quick on the scene, capturing Susan and taker her to a secret government facility ran by General W.R. Monger (Kiefer Sutherland), who has been hoarding a collection of strange monsters for decades.

There she meets fellow captives B.O.B. (Seth Rogen), a boneless blob of blue goo; Dr. Cockroach Ph.D. (Hugh Laurie), a genius half-man, half-insect; The Missing Link (Will Arnett), a hybrid of sea creature and ape, and Insectosaurus, a gargantuan mutated bug. Their futures look increasingly bleak, but when alien Gallaxhar (Rainn Wilson) arrives on Earth in search of the crashed meteorite, US President Hathaway (Stephen Colbert), gives Monger the go-ahead to put his freaky prisoners to the test and straight into battle with the intergalactic invader.

B-movie fans will spot the homages immediately, and there's enough of a modern twist to the rag-tag gang of 'monsters' to delight any children watching. The references are obvious: there's Attack of the 50 Foot Woman, The Blob, The Fly, Creature from the Black Lagoon and Mothra, but the characters are so lovingly crafted and terrifically voiced by a talented cast that they feel more love letter than straight rip-off. Although there are a few laugh-out-loud moments, Rob Letterman and Conrad Vernon's film, working from a script by no less than five writers, fails to be consistently funny, and the arrival of Gallaxhar is a one-note plot device designed to bring everybody together. But there are some exciting set-pieces, particularly whenever the weirdly adorable Insectosaurus is involved, and there is enough heart woven into its fabric to make Monsters vs. Aliens one of Dreamworks' most underappreciated animations.


Directed by: Rob Letterman, Conrad Vernon
Voices: Reese Witherspoon, Seth Rogen, Hugh Laurie, Will Arnett, Kiefer Sutherland, Rainn Wilson, Stephen Colbert, Paul Rudd
Country: USA

Rating: ***

Tom Gillespie

Review #261: 'Melancholia' (2011)

I wrote a review for Lars Von Triers previous film, Antichrist (2009), so I won't reiterate his 'agent-provocateur' profile outside of his films. I also have to confess that I've never really been much of a fan of his work. The aforementioned, I found intriguing, The Idiots (1998) was OK. Other than Breaking the Waves (1996 - which whilst utterly depressing, was a fine film), I can't say that his films have enlightened me in any way. His approach has always been interesting though. Now to his most recent effort. Melancholia, whilst forming around the concept that a planet (Melancholia) is heading towards Earth, the film is largely focused upon the relationship between siblings Justine (Kirsten Dunst) and Claire (Charlotte Gainsbourg), who are, emotional, polar opposites. The film is split into two chapters, each with the sister's names as titles.

The first half focuses on Justine, and specifically her wedding reception. This part of the film plays much like another of the Dogma '95 films, Thomas Vintererg's excellent Festen (1998). We are introduced to Dunst's character as someone fleeting. She constantly leaves the party, sporadically moving around outside of family and friends. We know from this that she is without conscience when considering people around us. We see in this section that Justine is a person attracted to chaos; she despises order. This is perfectly illustrated in a scene in the bridal suit, where coitus is about to take place. Her new husband, Michael (Alexander Skarsgard), begins taking his clothes of, folding each element of garment and carefully laying them down. This show of order seems to frighten Justine, as she leaves.

In chapter two, the main focus is on the sister, Justine. She has a seemingly austere life, married to John (Kiefer Sutherland) with a young son. They stay in what seems to be a manor house. Justine, who is now staying with them in the throws of deep depression. Claire, unlike Justine, is petrified with any form of disorder. All things have to be in the right place. From the start of the film the presence of the approaching planet is referred to. As it gets ever closer Claire's husband constantly reminders her that it will most certainly not impact with Earth. The film progresses as each character comes to terms with their existence in the face of utter destruction.

A drama which alludes to science fiction, it is an interesting film on two very different people living with the idea of total destruction. It is without question an utterly beautiful piece of cinema, with some exceptionally great performances, particularly from Dunst, in what must be her finest role.


Directed by: Lars Von Trier
Starring: Kirsten Dunst, Charlotte Gainsbourg, Kiefer Sutherland, Charlotte Rampling, John Hurt, Alexander Skarsgård, Stellan Skarsgård
Country: Denmark/Sweden/France/Germany

Rating: ****

Marc Ivamy