Monster Man

A spoiler light review of Monster Man should begin with tone, because Michael Davis understands exactly how this horror film ought to feel. Monster Man gains early credibility from Eric Jungmann, whose presence is balanced by the different rhythm of Justin Urich. The foundation of Monster Man can be stated simply: Two guys and a female hitchhiker are terrorized by a monstrous looking man driving a giant monster truck. Within its 1h 35m running time, Monster Man reveals both the benefits and the limits of that disciplined approach.

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The plot of Monster Man is built around the uneasy relationship between the central character and an important relationship. For Eric Jungmann, that relationship gives Monster Man an emotional objective stronger than simple forward motion. The screenplay associated with Michael Davis lets a difficult choice reshape the direction of Monster Man in stages. Although the treatment of the wider conflict could be sharper, Monster Man never entirely loses the thread established at the beginning.

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What keeps Monster Man emotionally readable is Eric Jungmann, whose choices establish a consistent point of view. In scenes with Justin Urich, Monster Man gains tension from two performers refusing to produce the same kind of energy. Aimee Brooks contributes a separate rhythm to Monster Man and helps the supporting material feel less purely functional. The direction by Michael Davis gives the cast of Monster Man room to connect the quieter beats with the larger ones.

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The craft of Monster Man is defined by patiently built dread, supported by patiently built dread rather than overwhelmed by decoration. Dream Entertainment gives Monster Man a production framework in which carefully rationed sound can remain connected to story. Made from a United States production context, Monster Man uses setting and design to clarify mood before dialogue has to explain it. The technical finish of Monster Man works because image, sound and editing appear to be serving the same immediate purpose.

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Michael Davis gives Monster Man a directorial line that is alive in individual scenes and uncertain between them from its opening promise to its final movement. The staging of Monster Man is strongest when Michael Davis allows motivation to determine pace instead of reversing that priority. Viewed as a complete piece, Monster Man confirms that the cast and craft keep the experience watchable across most of the running time. A tighter version of Monster Man would address how too many scenes explain effects the actors have already suggested, yet the surrounding work remains persuasive.

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Monster Man finds additional purpose in its examination of fear, isolation and the moment familiar spaces stop feeling safe. Through the performance of Eric Jungmann, Monster Man makes that examination feel personal before it becomes broadly symbolic. The idea of the central character repeatedly returns Monster Man to the cost behind its more visible developments. Michael Davis is most persuasive when Monster Man allows the theme to emerge from an uncomfortable choice rather than polished dialogue.

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The lasting judgement on Monster Man is an uneven film with enough personality to remain interesting for horror viewers who prefer atmosphere to constant shocks. Monster Man earns that response through the focus of Eric Jungmann, the contribution of patiently built dread and the direction of Michael Davis. It remains true that too many scenes explain effects the actors have already suggested during Monster Man, which keeps enthusiasm measured. Still, Monster Man understands the experience it wants to create and communicates that intention with recognisable personality.