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There Are Monsters

There Are Monsters

2013

Director

Jay Dahl

Runtime

96 minutes

Average Rating

No ratings yet

Synopsis

A crew of student filmmakers embark on a road trip when they discover odd events and people acting strangely around them. Soon, they realise that sinister doppelgangers have invaded the town.

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Diversity & Representation

Overall Score

3.6/10

Limited


Category Breakdown

LGBTQ+ Representation

Limited

The narrative focuses on a doppelgänger invasion within a student film crew. There is no evidence of queer character arcs or non-cisnormative identities present.

Gender Representation

Fair

The ensemble includes female performers like Kristin Langille and Malia Rogers. However, characters primarily serve the survivalist horror plot rather than exploring gendered agency.

Racial & Ethnic Diversity

Limited

The film follows a conventional ensemble cast common in low-budget horror. It lacks specific evidence of diverse casting or characters of color driving the plot.

Religious & Cultural Diversity

Fair

The story explores paranoia and social breakdown. It does not explicitly critique Western institutions like religion or the nuclear family through its themes.

Disability Representation

Minimal

The film provides no documented evidence of characters with physical or neurodivergent disabilities. The focus remains entirely on the external doppelgänger threat.

Strengths

  • Includes female performers within the student filmmaker ensemble.

Areas for Improvement

  • Lacks explicit LGBTQ+ visibility or queer character arcs.
  • Does not actively seek to disrupt Anglo-centric casting norms.
  • Fails to engage with disability representation or neurodivergent characters.
  • Does not use its themes to critique Western social or religious institutions.

AI Analysis

There Are Monsters operates as a traditional found-footage horror exercise. The film prioritizes genre mechanics and suspense over intentional social commentary or the deconstruction of identity politics. While the cast includes women, the characters function mostly as vessels for tension. The production lacks visible efforts to disrupt Anglo-centric casting norms or include diverse demographic distributions. Ultimately, the work does not engage with systemic power dynamics. It remains a genre-specific piece that adheres to established tropes rather than seeking to subvert them.

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