| Clover Films | Release Date: November 22, 2023 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
36
Mixed:
4
Negative:
0
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Critic Reviews
It’s challenging but neither inaccessible nor impossibly dense. Kore-eda invites intellectual engagement but doesn’t leave the viewer unrewarded. This is one of the year’s best movies – the third time in the last decade I have made that statement about one of the director’s productions.
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By sharing only select pieces of each character’s private life, he all but obliges us to leap to incorrect conclusions, distracting with topics such as bullying, aggression and suicide when the real subject — how children are socialized, and the unfair pressures this puts on anyone who doesn’t fit the norm — is so much simpler than any of the intriguing dimensions teased along the way.
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The GuardianMay 19, 2023
The performances from Sakura Ando, Eita Nagayami and the boys have a calm frankness and integrity. As for the story itself, it is arguably a little contrived with a thicket of mystery that perhaps didn’t need to be so dense. But this is a film created with a great moral intelligence and humanity.
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The deliberate pacing and sometimes confusing narrative make Monster less engrossing than some of Kore-eda's work, and less likely to win prizes. But it is still a marvel: a minutely observed, profoundly compassionate chronicle of untidy contemporary lives. It's a Hirokazu Kore-eda film, in other words.
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IndieWireMay 19, 2023
A dense and looping melodrama that spirals towards its core idea with the centrifugal force of a Christopher Nolan movie, Monster is one of those movies that — from its title on down — invites the audience’s worst assumptions of its characters so that it can show us our blind spots when the story eventually circles back to fill in the blanks.
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The Observer (UK)Mar 17, 2024
Ultimately, the question of what actually happened is just another red herring. The real point of the film is its heartfelt, if slightly trite, message: that it’s the wider world that needs to adapt and accept the differences of children like Minato and Yori, rather than the other way around.
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The eventual reveal of the who and the why provides satisfying resolution, though the reward feels petty in comparison to the film’s freestanding pleasures: the tremulous discovery of love, the crystalline peace of unsupervised play, and above all else, the transportive score from the late Ryuichi Sakamoto, a masterwork within a minor work.
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