'Monster' With Kelvin Harrison Jr. Finds New Resonance Post-George Floyd But Still Feels A Little Standard Issue [Review]

Coincidences are a hell of a thing. Anthony Mandler’s indie drama “Monster” is a film that premiered at Sundance in 2018, but it only made its way on to Netflix now, the week of May 7. In the same week, Derek Chauvin, the convicted murderer of George Floyd, moves to request a new trial. His lawyer claims Chauvin was denied a fair trial due to the pre-trial publicity. “Monster,” based on Walter Dean Myers’ 1999 novel of the same name, finds itself opening with a possible new vested interest. Mandler’s adaptation of a young Black honor student involved with a complex legal battle after being charged with the murder of a bodega owner draws on themes of race, truth, and justice, with its release so soon after Chauvin’s initial verdict, an interesting contrast can be obtained despite the film’s rather standard execution of affairs.

One of the strongest aspects of “Monster” lies in the film’s well-picked, finely tuned cast. Save for the distracting near-cameo appearance of John David Washington, whose star power upped in wattage since the film’s completion. Mandler may be more known as a music video director, but it’s quite clear that he can obtain solid performances from (admittedly) reliable actors. Kelvin Harrison Jr. (“Waves“) has a troublesome time having to guide the story with some uninspiring narration, but his performance within the film itself is an engaging one. Balancing the difficult line of showing emotional vulnerability while still providing a certain amount of doubt about the events of what may have occurred between his character Steve and his fast friend William King, who is also standing trial. A$AP Rocky plays King with the charismatic swagger that one would expect from a Rapper turned actor of his stature. Dependable turns from the likes of Jeffery Wright, Jennifer Hudson, and Tim Blake Nelson also appear. Standard stuff of no surprise.

Cinematographer David Devlin helps provide “Monster’s” second element of note. This is a handsome debut feature. Mandler’s music video background, along with Devlin’s keen eye, gives us a vibrant and rich-looking film. Even cold prison scenes instill an amount of texture. In the film, Steve’s father is a man of the arts, and his small explanation to his son on photography’s golden ratio is cute. Mainly because once mentioned, it is seen throughout afterward, including immediately after the said exchange. The film looks good, and the actors do well with the material.

So, how does “Monster” stumble? Possibly because it feels like a calling card feature that never really shocks, does not thrill, and never genuinely surprises. The film focuses on how innocent till proven guilty becomes messy in a carefully built society upon stereotypes. An early moment has a beleaguered cop questioning Steve before his mugshots are taken. Jennifer Ehle’s role as Steve’s public defender comes with the standard moments expected from such a role. Watching the defendant ashen-faced while she does the job. Remarking that the jury will be hard to sway because Steve is young, Black, and on trial. It is somewhat entertaining but all so very typical.

Hardened cinephiles may find the mention of one Akira Kurosawa feature a deciding factor on their feelings on the film. The film school moment, which appears at the midpoint of the feature, is both welcoming, yet eye-rolling at the same time. To see a young adult feature, contextualize such a film is nice to observe when so much recent film commentary seems only to highlight modern cinema’s reluctance to care about anything before the 1980s. However, anyone with a broad taste in cinema may find the appearance to be a massive tell-all on where “Monster” is going. If not the referenced film, then certainly the explanation of the said film. Also, by the time Nas (executive producer) appears as a prison vet, remarking that one must “stand on their own truth,” the cat does feel like it is out of the bag.

Despite this, “Monster” has its moments. A brilliantly executed montage delivering much of the story’s trial in a fury of rapid cuts is a standout moment. Simply because it communicates the disorientating nature of how such a court case could feel like to a teenager like Steve, a moment involving Chess and a proverb about tigers may be another obvious moment but is an amusing one. And while the film hits every conventional beat like a marching band, its convenient appearance now, a year after the BLM protests, gives the film a relevance that may have been lessened if released nearer its completion date. If the idea of contrasting “Monster” with current real-life socio-politics does not appeal, “Monster” would also make a rather sobering double bill with Lenny Abrahamson’s “What Richard Did” (2012). While “Monster” never hits as hard as the Irish feature, it would provide some interesting food for thought. [B-]

“Monster” is available on Netflix now.