A Monster Calls
Director: J.A. Bayona
Stars: Lewis MacDougall, Sigourney Weaver, Felicity Jones
Duration: 108 mins
Class: 12
KRS Releasing Ltd

Grief and its effect on those who have lost loved ones is a theme often visited in the movies. And, while it may not appear so on the surface, A Monster Calls deals directly with this most real of emotions in a wholly fantastical way.

The titular monster is ostensibly an ancient yew tree that breaks away from its roots and anthropomorphises into a 40-foot walking, talking – and admittedly rather menacing – being that appears one night outside young Conor O’Malley’s (Lewis MacDougall) window…

… Yet, the actual monster is something more sinister. Conor is dealing with stuff no 12-year-old should ever have to – his mother (Felicity Jones) is very ill, his father lives thousands of miles away in the US and his only other relative is his stern grandmother (Sigourney Weaver), who is doing her best to prepare Conor for the inevitable while he is convinced Mum will get better.

An intelligent but introverted boy, Conor also has to deal with unremitting bullying at school, so it is no surprise that he seeks solace in his wonderful drawings, a talent sparked by his vivid imagination. But, never in his wildest dreams did he ever imagine such a creature would actually appear to him.

And it is his actual dreams – or rather one recurring nightmare – that seems to summon the Monster, who, scary appearance and harsh demeanour notwithstanding, only wants to tell Conor three stories – after which, he says, Conor must tell him one in turn.

Initially frightened, then defiant, and ultimately piqued, Conor and his new ‘friend’ embark on a cautious relationship and, as the Monster takes him on a journey tinged in fantasy, the reality around the young lad begins to crumble.

Deals with the most real of emotions in a wholly fantastical way

A Monster Calls offers an achingly beautiful telling of an all-too-relatable situation. Spanish director J.A. Bayona has once more delivered an affecting story about the unshakable bond between mothers and sons, following his assured debut with the tender horror story The Orphanage (2010) and The Impossible (2012), set against the backdrop of the devastating 2004 tsunami.

This time, the story is told from Conor’s point of view. Not quite a kid, yet still far away from adulthood, the situation is forcing him to grow up. He is mature enough on one some level to realise the inevitable, yet still innocent enough to believe that the impossible may happen.

Young MacDougall captures that balance exquisitely. He is the heart and soul of the film. Your heart goes out to him as he bravely withstands the bullying he is subjected to. He tackles his new friend with intelligent curiosity, while his heart is slowly breaking. He more than holds his own opposite his more experienced co-stars, not least Weaver who expertly projects a moving balance between aloof-ness and tenderness towards Conor, while struggling with the impending loss of her child.

Felicity Jones as Mum, in a role as far removed from that she plays in Rogue One as can be imagined, underlines her astonishing range and plays it simple and straight. The effect is all the more powerful for it.

Liam Neeson adds performance-capture to his resume and is the perfect choice for the monster, his deep mellifluous tones commanding fear, respect and awe while he also serves as narrator.

The ordinariness of the non-descript English village where the story is set is offset by the startling visuals that illustrate the stories narrated by the Monster. These are vivid renditions of watercolour drawings come to life, with colour and mystery. The stories themselves prove to be effective morality tales, the ultimate aim of which is to show Conor that life is complex, things are never black or white and that life throws curve balls at us, which we all have to deal with.

A Monster Calls celebrates the art of storytelling and its visual treats offer a poignant illustration of grief. It is told by a sympathetic and top-notch cast, all brought together by the Bayona’s sensitive direction.