A Monster Calls Parent Guide

It is 12:07 AM and Conor O’Malley (Lewis MacDougall) is still awake. Too old to be a boy, but too young to be a man, the ‘tween draws in his sketch book late into the evening hoping to forget the bullying he faces at school and the worries for his sick mother (Felicity Jones) that consume him at home. He is also avoiding going to bed where nightmares torment his sleep.

At that dark hour the boundaries between reality and imagination can sometimes blur. Perhaps that explains why the ancient yew in the churchyard that he can see from his bedroom window suddenly uproots itself, stomps across the cemetery that separates the tree from his house, and stops in his back garden. Then, the face peering out of the mass of branches calls Conor by name and informs the terrified youngster that he has come to have him listen to three stories. In return, the monster expects Conor to share a truth with him. (This is a command, not a request.)

Over the next few weeks, the yew tree occasionally comes to life and shares his tales. Not sure if the wooden creature is friend, foe or partner in crime, Conor’s attempts to make sense out of his fables which challenge the boy’s understanding of justice and trust. Meanwhile he is also dealing with repeated harassment from his school peers (James Melville, Dominic Boyle, Oliver Steer) and watching his mum’s hopes for healing fade. His feelings of isolation only increase after a visit from his estranged father (Toby Kebbell) whose crowded life has little room for Conor’s big needs, and a forced stay with his grandmother (Sigourney Weaver) who is absorbed in her own fears of losing a child.

This movie is based on a children’s novel written by Patrick Ness. The author’s inspiration came from a story idea jotted down by Siobhan Dowd, a writer diagnosed with cancer who passed away before her story was completed. With this heritage, I was anticipating a film that might guide others who are traveling upon similar troubled waters.

But that is not what A Monster Calls offers. Instead, powerful performances capture the anguish a person caught in such a plight might experience. The graphic design of the monster is amazing, and the artistic decision to depict the tree’s stories in beautiful water colored animation is brilliant. And when Conor eventually confesses his “truth”, I suspect anyone who has ever watched a loved one suffer will concur with his admission.

Because of the frightening images, metaphorical moral messages too mysterious for even adults to confidently interpret, depictions of cruelty, an implied beating and possible justification for vandalism, this movie isn’t appropriate for younger audiences. While I was a little disappointed it didn’t provide more words of solace or guidance for those navigating this kind of sorrow, I did at least appreciate the empathy it solicited for those who journey along uncertain and lonely roads at any hour of the night or day.

About author

Donna Gustafson

Donna Gustafson has been involved with her husband Rod's work since the beginning. Handling many of the behind-the-scenes tasks, she also creates preview pages for up-coming movies, acts as managing editor and occasionally writes reviews.