--- title: "Monsters" year: 2010 kind: "film" canonical: "https://film.one/film/monsters" fi1m_score: 78 critics_score: 75 critics_reviews: 19 published: "2026-09-17T07:22:59.658963+00:00" updated: "2026-09-17T07:23:00.200213+00:00" region: "US" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # Monsters (2010) Directed by Gareth Edwards · 1h 34m · MPA R · Drama, Thriller, Science Fiction **Fi1m score: 78** · Critics 75 from 19 reviews *In a sentence:* A road romance that refuses to hurry just because there are giant aliens about > Gareth Edwards makes alien creatures feel at home in a patient, absorbing road romance. The border politics need more thought, and the pace sometimes slackens, but *Monsters* earns its quiet approach to science fiction. ## Synopsis Six years after alien creatures arrive, Andrew Kaulder (Scoot McNairy) and Samantha Wynden (Whitney Able) are travelling through the US–Mexico border region. Giant, squidlike beings have become part of the surroundings, and everyday life continues in their presence. A Ticket Seller (Mario Zuniga Benavides) is among the people the pair encounter along the way. Their immediate concern is continuing through unfamiliar territory, with the possibility of danger complicating their journey. As they spend time together, a hesitant attraction develops alongside the practical business of travelling through a place where the aliens are already residents. ## Review Gareth Edwards’s *Monsters* is good science fiction for an evening when we would rather spend time in an unfamiliar place than watch it being demolished. It follows Andrew Kaulder (Scoot McNairy) and Samantha Wynden (Whitney Able), with a road journey and a tentative romance taking precedence over creature attacks. The title might suggest a more aggressive film, but the patience mostly pays off. The director makes the aliens seem settled into a landscape where people still have lives to get on with. As cinematographer and production designer, Gareth Edwards makes the surroundings worth our attention. The location photography has a looseness that makes the journey feel discovered, while the production design gives the creatures a place among ordinary human surroundings. The effects are convincing because they belong in these images, with little sense that the scenery has been arranged merely to display them. There is pleasure in looking around the frame, even when the story offers little immediate reason to hurry. Scoot McNairy and Whitney Able are good at keeping the relationship from seeming like the sole purpose of the trip. They allow for an awkwardness that suits two people whose closeness is still uncertain, and neither performance demands that we find them irresistible. The trouble comes when Gareth Edwards’s writing asks their conversation to carry too much of the film. Some of it is so undemonstrative that the characters become harder to distinguish than they should be. We felt an unexpected shiver when the giant, squidlike creatures appeared. Their infrequent appearances give us time to register their strangeness instead of simply waiting for the next attack, and the effects hold up to that attention. Jon Hopkins’s music deepens the unease without treating every quiet stretch as preparation for an attack. The creatures are the clearest reason to see the film, even though the director is right to keep them out of much of it. Colin Goudie’s editing is sympathetic to the travelling and the developing attachment, giving both more room than a succession of shocks would allow. That is often welcome, although there are stretches when the film seems to be waiting for the relationship to acquire more weight. At 94 minutes it is short, but it does not always feel brisk. We would not ask for more attacks; a little more precision in the exchanges between the two travellers would do. The US–Mexico border gives the story a political meaning that the film hardly needs to underline. Alien creatures, immigration anxiety and the question of who gets treated as an intruder make a fairly easy connection, and the film does too little to complicate it. The people who live in this region deserve more attention than the travelling couple’s story allows them. Because the setting feels persuasively inhabited, we notice how little we learn about those inhabitants. Within science fiction, its willingness to leave the creatures at the edge of the human story is refreshing, though quietness alone would not be enough. The images and the hesitant affection supply enough interest to forgive the occasional drift. We recommend it to anyone happy to let a journey take precedence over an explanation. If tonight calls for a sustained siege, choose something else. *Fi1m score 78, published 17 September 2026.* ## What the critics say Most critics respond warmly to Monsters as a quiet science-fiction road film whose romance matters more than its creatures. Praise centres on Edwards’ resourceful effects, atmospheric location shooting and the convincing presence of the fantastic in ordinary surroundings. Many reviews find the leads’ understated performances and chemistry enough to sustain the journey. The sparing monster appearances are generally welcomed, with human encounters taking precedence over action. The spread is wide, however, and the relationship that engages most critics leaves others cold. Reservations concern the subdued pacing, limited sense of danger and an immigration allegory some find too obvious. The Los Angeles Times admires the dystopian imagery but finds the characters empty and the political ideas underdeveloped. Slant Magazine dissents more sharply, rejecting both the leads’ chemistry and the treatment of poverty and immigration; the disagreement extends beyond expectations of how much a monster film should show its monsters. ### Reviews we read (19) - **Empire**, Dan Jolin (90/100, inferred): Praises the low-budget sci-fi road movie as an amazing achievement that matches top indies in performances and character work while delivering blockbuster-level effects, thanks to the director's one-man VFX and filmmaking ingenuity. [Read](https://www.empireonline.com/movies/reviews/monsters-review/) - **Screen Daily** (90/100, inferred): The review calls it an impressively assured debut that succeeds across performances, story, effects and locations, describing it as an intelligent, absorbing and moving sci-fi romance rather than a horror flick. [Read](https://www.screendaily.com/monsters/5014984.article) - **The Guardian**, Peter Bradshaw (90/100, inferred): Edwards delivers a thrilling postmodern sci-fi film with a downbeat approach to the monsters and a hugely involving love story. The director channels classic influences while offering a Swiftian satire on immigration fears and a superb final gesture. [Read](https://www.theguardian.com/film/2010/dec/02/monsters-review) - **The Telegraph** (***): Edwards multitasks impressively on a tiny budget to create a visually and sonically enviable film. It is a gorgeous and unsettling road movie about an almost-romance with an ending that sends shivers down the spine. [Read](https://www.telegraph.co.uk/culture/film/filmreviews/8177274/Monsters-review.html) - **Total Film**, Matt Glasby (90/100, inferred): Hails it as the first home-made sci-fi blockbuster, crediting Edwards' innovative all-in-one production with creating a realistic, empathetic world and awesome monster reveals that promise even greater things ahead. [Read](https://www.gamesradar.com/monsters-1-review/) - **Radio Times**, Trevor Johnston (4/5): The critic commends the enterprising debut for its fresh mix of sci-fi, road movie and romance, noting the convincing low-budget effects and strong human dimension centered on the leads' chemistry. [Read](https://www.radiotimes.com/movie-guide/b-iq28q7/monsters/) - **The Times** (80/100, inferred): This intelligent British feature about aliens is a miracle of austerity cinema with convincing verité style and digital effects that surpass expectations. Edwards confounds monster-movie expectations by focusing on the human relationship. [Read](https://www.thetimes.com/comment/register/article/monsters-cxhtdmkxwhz) - **Time Out**, Nigel Floyd (4/5): The review highlights the seamless blend of romance, road movie and monster elements in this micro-budget film, praising its atmospheric, realistic texture and quiet human moments over spectacle. [Read](https://www.timeout.com/movies/monsters) - **Variety**, Joe Leydon (80/100, inferred): The critic calls it a uniquely satisfying entertainment that turns sci-fi conventions inside out by concentrating on human drama under pressure. He singles out the naturalistic performances, guerrilla-style shooting, and balance of gritty-indie style with horror substance. [Read](https://variety.com/2010/film/reviews/monsters-1117942467/) - **Sight and Sound**, Nick Roddick (70/100, inferred): The critic praises the film's assured debut blending of road movie, sci-fi and romance, noting its realistic world-building and integration of the fantastic into the everyday. The human drama and chemistry between leads stand out over the creatures. [Read](http://old.bfi.org.uk/sightandsound/review/5786) - **The Hollywood Reporter**, The Associated Press (70/100, inferred): The film impresses with its atmospheric detail and sparing use of creatures despite echoes of District 9. Performances by the leads are tentative and the sociological subtext along the U.S.-Mexico border is too obvious. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/monsters-film-review-29786/) - **The New York Times**, Jeannette Catsoulis (Critic's Pick): The critic praises the film as a wondrously atmospheric drama and dreamy love story-road movie inside a sci-fi scenario. She singles out the rare but eerie appearances of the giant squidlike creatures and their effect on the frame and score. [Read](https://www.nytimes.com/2010/10/29/movies/29monster.html) - **The Independent** (50/100, inferred): Calls the debut a resourceful and original film with grimy authenticity and a sense of wonder that marks Edwards as an exciting talent, but finds it too subdued and uneventful with little plot or danger. [Read](https://www.independent.co.uk/arts-entertainment/films/reviews/monsters-gareth-edwiards-93-mins-12a-megamind-tom-mcgrath-95-mins-pg-secretariat-randall-wallace-123-mins-u-2151399.html) - **Los Angeles Times**, Robert Abele (40/100, inferred): The critic finds the lo-fi sci-fi construct swings too far from effects-laden films into an indie that lacks purpose and engagement. He singles out the arresting dystopian visuals but criticizes the empty characters, ad-libbed dialogue, and failure to develop the geopolitical allegory or local perspectives. [Read](https://articles.latimes.com/2010/oct/29/entertainment/la-et-monsters-20101029) - **Slant Magazine**, Nick Schager (20/100, inferred): The allegory about immigration is leaden and unoriginal, recycling elements from Cloverfield and District 9 without subtlety or tension. The leads lack chemistry and the film romanticizes poverty while delivering a simplistic critique of America. [Read](https://www.slantmagazine.com/film/monsters/) - **Den of Geek**, Ryan Lambie (5/5): The critic calls it one of the best films of the year, a quiet and mature giant monster movie that blends road trip, romance and sci-fi with insightful commentary. He singles out the ethereal beauty of the location shooting and the genuine chemistry of the lead actors for praise. [Read](https://www.denofgeek.com/movies/monsters-review-2/) - **Eye for Film**, Amber Wilkinson (85/100, inferred): Despite the title, the film is primarily a road-trip romance rather than an action monster movie, with terrific guerrilla-style cinematography and impressive home-PC effects. Edwards shows strong promise as a director capable of delivering smart, tender genre fare on a shoestring budget. [Read](https://www.eyeforfilm.co.uk/review/monsters-film-review-by-amber-wilkinson) - **HeyUGuys**, Jon Lyus (80/100, inferred): The film is a compelling sci-fi road movie with a Lost in Translation vibe, strong understated performances, and impressive sparingly used effects created by the director himself. It is recommended as an enjoyable and intelligent entry in the new wave of cinematic sci-fi. [Read](https://www.heyuguys.com/monsters-blu-ray-review/) - **The Playlist**, The Playlist Staff (B): The film uses an alien invasion premise for a unique character-driven road movie focused on a tender relationship between the leads, with intelligent direction and honest writing. It offers a fresh, surprising take that prioritizes emotional depth over action, ending on a poignant and tragic note. [Read](https://theplaylist.net/review-monsters-an-inventive-alien-invasion-road-movie-20101027/) ## Details - **Director:** Gareth Edwards - **Director:** Gareth Edwards - **Writer:** Gareth Edwards - **Cinematography:** Gareth Edwards - **Editor:** Colin Goudie - **Music:** Jon Hopkins - **Production design:** Gareth Edwards - **Producer:** Allan Niblo, James Richardson - **Cast:** Scoot McNairy as Andrew Kaulder; Whitney Able as Samantha Wynden; Mario Zuniga Benavides as Ticket Seller; Annalee Jefferies as Homeless Woman; Justin Hall as Marine; Ricky Catter as Marine; Paul Archer as Marine; Kerry Valderrama as Marine - **Runtime:** 1h 34m - **Certificate (MPA):** R - **Release (the US):** 29 October 2010 - **Genres:** Drama, Thriller, Science Fiction - **Budget:** $500,000 - **Box office:** $6 million - **Trailer:** https://www.youtube.com/watch?v=X-z-fsKf_cU ## Where to watch in the US - Amazon Prime Video: add-on - Amazon Prime Video: rent $2.99, sd - Apple TV: rent $3.99, hd - Apple TV: buy $4.99, hd - Amazon Prime Video: buy $9.99, sd *Checked 2026-09-17.* Also available in: AU, CA, GB, IE, IT, US. Add `?region=XX` to this URL for another country. ## Awards - Saturn Awards 2010: Best International Film (won) - Sitges Film Festival best special effects award 2010: Sitges Film Festival best special effects award (won) ## If you liked this - *Stalker* (1979), Fi1m 86: Another uncertain journey through altered territory, with more patience and fewer reassurances. — [Fi1m page](https://film.one/film/stalker.md) - *The Host* (2006): For a creature feature that gives family arguments as much attention as danger. - *The Brother from Another Planet* (1984): Alien arrival becomes a way to notice everyday kindness and hostility. - *Midnight Special* (2016): A guarded road journey whose human attachments matter more than its explanations. - *The Vast of Night* (2019): Patient science fiction that builds its unease from voices, distance and waiting. --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/monsters