Monster Summer Movie Review (Spoiler Free)

A late 90s/early 00s gateway horror for younger audiences, in the style of The Sandlot & The Monster Squad. But can this summerween flick bewitch? 

Genre: Adventure / Fantasy / Horror / Mystery 

Director: David Henrie

Cast: Mason Thames, Mel Gibson, Abby James Witherspoon, Julian Lerner, Noah Cottrell, Nora Zehetner, Lorraine Bracco, Patrick Renna, Ashley Rae Trisler & Kevin James.

Run Time: 97 min.

US Release: 04 October 2024

UK Release: 25 November 2024 (multiple digital platforms)

German Release: 19 June 2025

This new coming-of-age adventure, directed by David Henrie, tries to emulate the magic of the “kids on bikes” subgenre, though it doesn't fully manage to capture its essence. Released during the later quarter last year in the US plus the UK, this movie had a very limited screening, only having made it to German cinemas this month, most probably due to its niche audience. While I am not the targeted demographic, I’ll try my best at reviewing this summer escapade through wondrous kids' eyes.

So, let us chase this story, as we ride through my review for this light-hearted spooky fantasy - Monster Summer!

When a mysterious stranger visits the island town of Martha's Vineyard, aspiring journalist Noah bands together with his friends as an unnatural force starts disrupting their summer. Teaming up with a retired police officer, they embark on a mission to save the island.

Writer-duo Cornelius Uliano and Bryan Schulz developed the script, believing there was a decline in coming-of-age tales over the last years, explaining that these stories are of importance, especially nowadays, to “inspire courage in the face of darkness”. At the end of 2021, it was reported that Mel Gibson, just like Mason Thames, were attached to the project, with the rest of the cast announced in January 2022. The original title was supposed to be “Boys in the Summer”, though it was changed to what it is now shortly before release. 

While the screenplay tries to encapsulate the nostalgia of these types of movies, using the seaside backdrop as the typical small town, in which these supernatural events take place, it also gets lost in familiar tropes, witnessed a hundred times in such premises. Aspects like the “red herrings”, splitting up, or the mystery surrounding the monster, are all utilised. That said, it manages to differentiate itself by embracing the spirit of the 90s as a setting.

Then there is the issue of pacing, dragging in between frightening or heartfelt moments, as the team is reluctant to let situations fully escalate as a result of consequences. The friendship between the teenagers is barely explored, plus it feels artificial more often than not. However, the plot is strongest when it focuses on the mentor-protégé structure, evolving organically, as well as emotionally engaging. 

All of this combined makes for a fun yet predictable summer adventure tale. The final reveal is underwhelming, while several twists had been foreseeable. It is a flick that caters to very young teenagers and pre-teenagers, containing little substance for mature audiences.

Conversations fall flat, missing a sense of naturalness. Moral lessons come off as clunky quotes. The most genuine exchanges are between the two leads, depicting an evolving friendship.  

Mason Thames portrays protagonist Noah Reed, playing a similar role to Finney in The Black Phone, though without his likability. The screenplay tries to build sympathy by adding emotional stakes, such as Noah’s loss of a father and his wish to follow in his footsteps. Unfortunately, this gets thwarted, as the central character behaves like a jerk half the time. Thames himself gives an alright portrayal, but is given a misguided direction. 

Mel Gibson, as the retired, grouchy Gene, is really good. He brings a sincerity to his role that grounds most of the scenes he is in, serving as a counterbalance to the general unevenness of the picture. The blossoming “father-son” relationship between him and Noah is believable, thanks to their on-screen chemistry. Gene’s backstory is tragic, lending him relatability, just like a pleasantness to his being. Unfortunately, Gibson is restricted by the material he is given. 

The rest of Noah’s entourage rounds out the friend circle, yet apart from Noah Cottrell’s Ben, none of the others are fleshed out enough to give it a believable sensation of tight-knit alliance. Equally, Nora Zehetner’s Abby, Noah’s mother, is given barely any screen time to develop her persona.

Kevin James plays a minor role as the town's newspaper editor. As per usual, he gives the same goofy rendition as in any other film he is in.

The cinematography does capture the 90s aesthetics well, without diving into random clichés. The colour palette interchanges between warm summery hues and cold blue/green tints, highlighting the supernatural mystery. Tracking shots are employed, following the teenagers on their bikes or as they sneak in and out of situations, giving the feature a dynamic look. Nevertheless, the basic camera work remains fairly conventional, using little innovation. 

The production design does a fairly good job of setting a 90s small-town flair on the US East Coast. Practical effects are utilised over complex computer-generated graphics, reflecting the smaller folklore fairytale atmosphere, rather than a blockbuster creature feature. While the visual design has its ominous, aetherial moments, the effects are underwhelming at the end.

The sound design emphasises its beachside setting, using environmental plus creature sounds. While audio effects for the witch do set an eerie tone, it doesn’t use its full potential, restraining full visceral ambience. Frederik Wiedmann’s music presents soft suspense.

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Verdict: Overall, David Henrie’s directed coming-of-age adventure is a fair try at bringing back the “kids on bikes” subgenre. While not completely succeeding, the script does offer nostalgic beats of the era it recreates, as well as an engaging, growing friendship between young Noah and seasoned veteran cop Gene. It also gives its lead an acceptable arc of growth. However, the use of generic motifs, combined with the holdback of full narrative escalation, does create a predictable story outcome. Mel Gibson is great as Gene, giving his character much emotional depth, only held back by the source material. The young Mason Thames comes off as unlikable a lot of the time, though I believe this is due to misdirection. The cinematography is passable, offering beautiful shots of the seaside, and the music is engaging, though it could have been more aggressive. Overall, kids will probably like this, but parents might get a little bored. I’ll give it a 6.0  out of 10.

Given that this had a very late cinematic release here in Germany, it is mostly available on streaming platforms in the UK & US. If you want to give your children something to watch, this is a fine picture for a summery family film night. Thank you for reading!