Critic Reviews

Some great horror television, especially if you enjoy being challenged by how tragic a scary story is willing to go. “Monsterland” still has a good deal of creepy demons and supernatural figures, but it’s the people who will be making you go from one episode to the next.

Although Monsterland does suffer from the unevenness that seems to be inherent in all anthologies (horror or otherwise), its highs are among the best genre work of the year.

The anthology’s episodes live in a middle ground between the concentrated characterizations found at the beginning of AAA genre blockbusters and the slow-burn indie films that intertwine and develop the relationship between its sci-fi selling points and its central humans. Most solid when they create a sense of place, which happens about half the time, these dour stories shine lights onto awful parts of the world—but the light is dim, the reveal isn’t scary, and we all have enough hollow downers already.

Maybe it’s the difficulty of maintaining quality control across so many scripts, casts, and crews that lead to this inevitability, but it feels like “Monsterland” really just needed a couple more rewrites to the lesser episodes. All of the performers and craftsmen were up to the challenge.

“Monsterland” is a mixed bag. The few episodes that are great leave you thinking and shuddering, but there are too many that are overwrought and on-the-nose in their message. That being said, it’s a fantastic actor’s showcase. Those seeking actual scares, though, should seek refuge elsewhere.

While I say that no installment of Monsterland is a complete success, I don't think any installment is a complete failure either — though there's something perhaps even more disheartening in starting one episode after another with hope and enthusiasm but then knowing with increasing certainty that it probably won't stick the landing.

Ultimately, the opening foray into Monsterland isn’t quite exemplary, although it has its share of strong moments. Here’s hoping its thematic ambition, not its narrative sloppiness, is an indicator of episodes to come.