“There is a Monster”
MOVIE REVIEW
A CHILLING HORROR THRILLER
There Is a Monster is a chilling new addition to American horror, directed by Mike Taylor. Released on January 30, 2024, this film stars Joey Collins, Ena O'Rourke, Jesse Milliner, and Merry Rose Howley, delivering a story filled with tension and the eerie uncertainty that comes from questioning what’s real. Distributed on Video On Demand (VOD), the movie reaches viewers directly at home, creating an intense, close-to-home horror experience for audiences.
The story revolves around Jack, a successful photographer who has built a comfortable life with his wife, Carol. Jack is a creative with a vivid imagination, which only adds to the dread when he starts to notice strange occurrences in his daily life. Initially, Jack sees something strange lurking in the shadows of his own photography studio, a place he knows well and where he should feel most in control. Trying to rationalize his fear, Jack writes off the sighting as a result of a hangover from the previous night’s tequila. However, this encounter lingers in his mind, leaving him with a gnawing sense of unease.
The strangeness escalates one evening when Jack, preparing to turn in for the night, is startled by a shocking sight outside his bedroom window. There, he catches a fleeting glimpse of what he later refers to as “the monster.” He’s shaken and immediately alerts Carol, leading to a late-night search around the house, but they find no trace of anything unusual. Carol tries to console him, suggesting it might have been a trick of the light or his tired mind, but Jack is certain of what he saw.
As days pass, Jack’s encounters with the “monster” become more intense and impossible to ignore. One night, as he lies asleep, he senses an overwhelming presence hovering above him. He is paralyzed by fear, unable to respond or even scream. The next morning, he realizes that something is seriously wrong—his speech becomes strangely garbled, as if words escape him. The experience leaves him rattled, and he begins to feel increasingly isolated as his behavior and communication issues worsen. Jack becomes convinced that the monster he’s seen is not just an illusion or a nightmare, but a real, malevolent force causing these changes within him.
Carol and Jack’s best friend try to support him, though they struggle to understand his claims about the monster. They are both skeptical, leaning toward the possibility that stress or a psychological issue may be causing Jack’s deteriorating state. His insistence that the monster is behind his suffering only deepens their concern for his mental health. To them, he seems obsessed, haunted by something invisible, as though he is losing his grip on reality.
Seeking answers, Jack visits his doctor. Desperate to find a rational explanation, he describes the events to the physician, hoping for a diagnosis that could explain away his terrifying experiences. But after a thorough examination, the doctor can’t find any physical reason for Jack’s symptoms. Left without a clear medical answer, the doctor tentatively suggests that perhaps Jack could be experiencing hallucinations brought on by stress or fatigue. However, Jack remains adamant that what he’s seen is not a hallucination; he believes it’s real and that the creature is somehow influencing him, attacking him both mentally and physically.
The horror of There Is a Monster lies in its portrayal of isolation and self-doubt, as Jack becomes the sole believer in his own horrific reality. His wife and best friend, despite their love for him, begin to pull away emotionally, unable to understand or support what they see as delusions. Jack’s health visibly deteriorates, with mysterious bruises, cuts, and other signs of harm appearing on his body. Each new injury raises questions about the monster’s true nature—is it a physical entity, a figment of his imagination, or perhaps a manifestation of something far more sinister?
Throughout the movie, viewers are drawn into Jack’s harrowing journey as he tries to uncover the truth of what he is experiencing. The tension rises with each encounter, blurring the line between psychological horror and supernatural terror. The audience, like Jack, is left wondering if the monster is real or if it symbolizes something deeper, perhaps a breakdown in Jack’s psyche or a dark past that has come back to haunt him.
In the end, There Is a Monster leaves audiences with more questions than answers, encouraging viewers to contemplate the thin line between reality and delusion. Joey Collins gives a powerful performance as Jack, capturing the desperation of a man trapped by an invisible enemy and the haunting loneliness that comes when no one believes you. Ena O'Rourke and Jesse Milliner bring depth to their roles as his wife and best friend, portraying the complex emotions of those close to someone experiencing mental unraveling. Merry Rose Howley rounds out the cast, adding a grounded presence that enhances the tension surrounding Jack’s escalating encounters with the monster.
Taylor’s direction in There Is a Monster amplifies the horror by playing on viewers’ primal fears—fears of the unknown, of the dark, and of being misunderstood. His careful framing and suspenseful pacing keep viewers on edge, while the sound design and eerie score underscore the film’s atmosphere of dread. The visual style of the movie is stark and unnerving, with shadowy scenes that force the audience to squint, peering into the darkness along with Jack, unsure if something may emerge.
As the credits roll, viewers are left to ponder whether Jack’s experiences were genuine or a product of his own mind unraveling. There is a Monster stands as a memorable horror film, blending psychological depth with supernatural suspense. Through its compelling characters and chilling plot, it captures the terror of facing a monster only you can see, raising questions about trust, perception, and the fragile boundary between the real and the imagined.
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