A headstrong journalist whose investigative podcast uncovers a strange artifact, an alien conspiracy, and the lies at the heart of her own story.
“I wanna tell you a story. You might not believe it, but that doesn’t mean it isn’t true. I need to tell it anyway. I have a secret. I’m the only one who can share it. The only one that is willing. And when I tell this story, I will change everything. All you have to do is listen.” – The Interviewer.
I must open my review of “Monolith” by stating that I’m not always the target audience for Science Fiction. Throughout the years, I’ve given my attention to even some of the most significant Science Fiction endeavors and found myself underwhelmed. It’s not that I don’t have an appreciation for the genre. It’s simply that I find myself underwhelmed more often than not with the capabilities it presents but seldom manages to live up to. In recent years, I’ve felt myself enamored by the likes of Denis Villeneuve, who delivered such masterpieces as “Arrival,” “Blade Runner 2049,” and, most recently, the much acclaimed “Dune: Part Two,” which, to me, is so far the film of the year at the time of this writing. In somewhat recent memory, the other two films within the genre that have indeed struck a chord with me are Alex Garland’s “Ex Machina” and Jonathan Glazer’s “Under the Skin,” two films which I genuinely feel explore the genre in the way in which it was meant to be explored, the way that opens up humanity to explore its true core and makes the viewer leave with perhaps more questions than answers but in an intellectual manner that opens itself up for discussion that proves fruitful for its viewers. In a sense, maybe it isn’t the overall genre itself that intrigues me but the so-called “lo-fi” subgenre that allows those questions to be asked.
“Monolith” is certainly that. I confess that, as an audience member, “Monolith finds me at the most conflicted I’ve been in some time while I find myself attempting to review a film.
The film opens with an unnamed, disgraced podcast host and journalist desperately attempting to find a worthwhile story after outing an individual for criminal activities. While it seems she was correct in her story, not enough evidence has been compiled to make her claims substantial.
Sound familiar? Of course, it does. In the day and age that we live in, we’ve been subjected to all too many conspiracy theories, some that seem to carry weight without necessarily having enough evidence to back them, some containing so-called “whistleblowers” whose authenticity remains suspect to some, and some that seem to be drawn out of thin air. What is the line for journalistic integrity, and, more importantly, where is the line drawn when it comes to acknowledging that the so-called “truth” your media outlet of choice has given you may not be so truthful once you start to investigate?
“Monolith” starts with a bang, which may be difficult to believe given that the entirety of the film takes place in a single location with one actor, a mesmerizing Lily Sullivan, making phone calls after she is sent an anonymous email regarding a black brick that seems to appear to various individuals dealing with traumatic circumstances. As simple of a concept as it seems, these calls initially lead to some of the most edge-of-your-seat scenarios I’ve seen on film in some time, a dark and haunting mystery lingering before the audience and inviting us along the ride as we beg to know what comes next. In this sense, “Monolith” is a masterclass in creating tension with a low budget and little to put on screen, one that, in its opening two thirds, should be taught in film schools for ambitious students looking to do the same. For the first 45-50 minutes, I was convinced that “Monolith” might be a film of the year with its staggering lead performance, clever writing, and Kubrickian cinematography that perfectly encapsulates the claustrophobic setting in which it takes place. With little to work with, it uses performance, cinematography, intelligence, and strong sound design (who says the film is just a visual medium) to capture something truly captivating in its delivery.
Unfortunately, “Monolith” collapses under its own intelligence and ambition too much to deliver something whose truly incredible opening acts serve its ending. While I was initially pleased with the time that the film took to tell its story, I was eventually let down by how quickly it rushed to get to its ending with little payoff. In a world of overly-stuffed films that overstay their welcome, I would have gladly spent another half hour in “Monolith”’s world to see the ending match the level of brilliance that the setup promised us. As it happens, the more “Monolith” went on, while entering its third act, the less enthralled I was by it. I genuinely feel like the creators had something to say, but its themes of classism and generational trauma aren’t explored to the depths they could have been if those involved weren’t seemingly so focused on delivering something in a neatly wrapped ninety-minute package. It’s truly a shame because, for all the strengths the film possesses, it ultimately falls victim to its weaknesses. We may never know whether this was a decision on the part of the filmmakers or their financial backers, but it truly is a tragedy to watch something that opens so brilliantly fade out with such a whimper.
Despite all this, it would be a disservice to say that the film isn’t worth watching because it absolutely is. As mentioned before, it’s a true masterclass in sound design and cinematography, with an astounding performance by the only actor it ever showcases on screen. It would have been a perfect film if it had lived up to its beginning, and I was almost convinced it was. As it is, it’s a strong showcase of the potential held by those behind it, and I look forward to seeing what they do next.
Unfortunately, it seems that “Monolith” is destined to fly under the radar. Still, to lo-fi Science Fiction enthusiasts, it’s definitely worth seeking out, even if it doesn’t always live up to the sum of all its parts. As the viewer next to me stated, “It’s both too abstract and not abstract enough.”
Do with that what you will.
Available on Blu-ray™ April 23rd
