As a seasoned movie critic with a penchant for globe-trotting adventures (much like Noah’s late father), I must say that “Monster Summer” is a delightful throwback to the days of “The Goonies” and “Stand by Me.” This juvenile adventure, while not as dark or disturbing as some of today’s offerings, manages to keep the suspense high without resorting to overt horror elements.
As a fan, I’d describe “Monster Summer” as an exciting and kid-friendly blend of “The Hardy Boys” and “Goosebumps.” In this movie, Mason Thames, known for his role in “The Black Phone,” finds himself in a less scary predicament as a resident of Martha’s Vineyard. Suspecting some eerie happenings, he embarks on an adventure that’s skillfully directed by David Henrie, offering a light dose of suspense within the supernatural genre.
Yearning to follow in the footsteps of his late world-traveling father who was a journalist, Noah (Thames) is eagerly seeking to have an article published in the local newspaper. However, the stern editor (James, with only three appearances) prefers content that appeals to tourists and advertisers, thus dismissing Noah’s raw attempts to expose questionable local tales. It seems our protagonist will instead spend his summer cycling around the island with his closest Little League friends: star athlete Ben (Noah Cottrell), future politician Eugene (Julian Lerner) and spirited Sammy (Abby James Witherspoon).
However, an unusual sequence of events unfolds not only here but also across New England – instances of children disappearing and then reappearing, physically unharmed yet in a near-catatonic state. These incidents become increasingly pertinent when Ben gets dragged under during a night swim. Rescued and seemingly unscathed, he too exhibits similar symptoms, as if his spirit had been taken away.
Noah quickly assumes that Miss Halverson (Bracco), the mysteriously witchy new guest at his mother’s bed and breakfast, is behind everything. She’s always dressed in dark, flowing clothes and carries an air of secrecy and superiority. However, others don’t find much credence in his theory. But Noah finds an unexpected ally in “Old Man Carruthers,” aka Gene (Gibson), a man often whispered about as a recluse. Despite not subscribing to supernatural explanations himself, he’s deeply concerned about the recent disappearances because of his own tragic past involving a missing child.
1997 serves as the backdrop for “Monster Summer,” a story that evokes a nostalgic charm similar to classics like “The Goonies” and “Stand by Me.” The horror elements are subtly hinted at, not fully manifesting until the final thirty minutes. However, it’s only then that we understand Noah was correct about the existence of something sinister, despite his misinterpretation of its origin. The fantastical elements introduced are suitable for children, more akin to the fairy tale feel of “Hansel and Gretel” than graphically scary.
In a simplified and conversational manner: Thames is an engaging protagonist, with his fellow actors providing solid support despite their one-dimensional characters. Gibson has played the quirky, gruff character numerous times before, and in this film, he seems to be going through the motions on low energy – it’s like he’s phoning in his performance due to the uninspiring dialogue he’s been given (“Advice for you kid: Don’t grow old,” “I’ve got socks older than you,” etc.). It’s hard not to sympathize with him, given the lackluster lines he’s working with.
There’s a fair share of cornball dialogue in Cornelius Uliano and Bryan Schulz’s screenplay, as well as an excess of reassuring schmaltz at the fadeout. But Henrie, a former child actor who recently played Young Ron in “Reagan,” does a good job smoothing over the material’s weak spots with a combination of professional polish and a deft serious-though-not-too-serious tone.
In this film, North Carolina’s settings cleverly represent the New England region, enhancing the overall impressive technology and design elements. The visual mastery is particularly noteworthy thanks to Larry Blanford’s stunning wide-screen cinematography, while Frederick Wiedmann’s grand orchestral soundtrack provides an emotional backdrop that elevates the production.
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2024-10-04 01:46