
There Are Monsters
2013

2022
RDirector
B. Harrison Smith
Runtime
97 minutes
Average Rating
No ratings yetSynopsis
The horror begins as Ayla and her high-school friends discover a hideous, semi-human mutant. They keep it prisoner while shooting repulsive viral videos, but the gang’s hunger for “likes” drives them to film the beast performing murderous acts. When one boy sees that Ayla is using the monster’s gruesome violence to settle her own vendettas, he threatens to tell the authorities, but is he too late to save his friends?
Overall Score
Limited
Category Breakdown
LGBTQ+ Representation
The film lacks explicit mention of LGBTQ+ characters or non-cisnormative identities. The narrative focuses on a peer group's descent into violence for social capital rather than queer presence.
Gender Representation
Ayla serves as a proactive protagonist who drives the plot through her personal vendettas. This subverts traditional tropes by giving the female lead morally complex and predatory motivations.
Racial & Ethnic Diversity
There is no information regarding the racial or ethnic composition of the high-school ensemble. The film does not confirm a non-white majority or intersectional characters with high agency.
Religious & Cultural Diversity
The story critiques the modern digital ecosystem and the corrupting pursuit of social media validation. It explores how the 'culture of likes' can lead to moral decay.
Disability Representation
The semi-human mutant acts as a monster archetype or plot device rather than a character with agency. There is no evidence of neurodivergent or physically disabled human characters.
Strengths
Areas for Improvement
AI Analysis
The film functions primarily as a genre-driven critique of digital-age social dynamics and the pursuit of viral validation. It explores the ethical decay of a youth group driven by the attention economy. While the narrative offers a nuanced look at female agency through Ayla, it lacks verifiable intersectional representation. The focus remains on social behavior and psychological consequences rather than identity politics. Ultimately, the work serves as a cautionary tale about social media voyeurism. It lacks the specific character depth or diverse casting required to achieve a higher progressive rating.

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