Monolith (2022)

-Written by Kyle Bain. 

When a young woman (known only as the interviewer) [Lily Sullivan] uncovers a story that has the potential to see her new investigative podcast skyrocket, she knows that she must do what she does best: interview everyone involved and uncover the truth. Monolith sees this young woman dive deep into a story that she almost can’t believe to be true, and what she will soon uncover will haunt her.

Monolith is driven almost entirely by dialogue, a part of the film that tends to become overwhelming from time to time. The reality is that the dialogue, and the premise of the film, does become a tad convoluted and difficult to follow. There is so much information thrown at viewers, and there are moments throughout the course of Monolith that become challenging as a result. The core of the film, the story that surrounds the interviewer, is easy enough to understand–and when all is said and done, viewers should still be able to comprehend what they need to in order to appreciate the film. 

The editing of Tania Nehme is the most powerful component of Monolith, as, without it, the integrity of the film falls apart. Nearly the entirety of mankind is tech savvy at this point in time, and just about everyone that’s ever handled a computer, tablet, or smartphone is aware of how things look and sound on their devices. In a film that dabbles in the extraterrestrial, a suspension of disbelief is of utmost importance–and something seemingly so trivial as ensuring that the audio and visuals regarding the electronics on screen look and sound familiar can play into that suspension. Nehme does a brilliant job of allowing this aspect of the film to be so believable, and an alien story becomes human, impeccably relatable as a result. 

The electronics are what play opposite the interviewer, as she is almost always seen alone, speaking with others only by way of telephone. With that, Sullivan is ultimately left to her own devices, again, playing opposite a series of electronics, surrounded by the enormous home in which the interviewer lives. Monolith finds our protagonist forced to use her surroundings, lighting, etc. to perform effectively. While it’s most definitely a team effort, Sullivan finds herself physically alone, with no on-screen supporting cast. She thrives in nearly every moment, and she’s the face at the forefront of Monolith’s success. 

What needs to be most successful is the pacing of Monolith, as Writer Lucy Campbell and Director Matt Vesely have to ensure that they develop intensity at just the right rate. The film does get off to a slow start, forcing me to ask if it’s interesting or not. It’s almost the entire first half of the film that plays out this way, but by the second act of the film, as the story of a black brick begins to develop further, it seems apparent that viewers should be engulfed in the narrative. From about the forty-minute mark I had difficulty peeling my eyes away from the screen–and I imagine that others might have a similar experience. 

Monolith does what it needs to in order to find success; it’s brilliantly edited, effectively lit, and beautifully acted. While it may be a bit tedious at the start, Monolith ultimately checks all the boxes necessary for a thrilling time. 

Directed by Matt Vesely. 

Written by Lucy Campbell. 

Starring Lily Sullivan, Damon Herriman, Chase Coleman, Janet Tan, Ling Cooper Tang, Ansuya Nathan, Erik Thomson, etc

8/10 = WORTH RENTING OR BUYING