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I do not know the novel of Patrick Ness. So, to define it as a good or bad adaptation is impossible. I know only than it is a simple amazing film. For so many reasons.

• I know, very well, the taste of angry. The film gives its nuances in almost cruel manner;

• I know the profound fear of loss. The film gives the fair nuances of it.

• Lewis McDougall is great as Connor. And , just great.

• It is a nice gift to discover the work of Sigourney Weaver and Felicity Jones. Or the short appearence of lovely Geraldine Chaplin.

• It is a film to remind and to feel it . A sort of confirmation of truths deep inside you.

• At the end, you know- it is a film about yourself . The connection with th family members, the selfishness, the so useful imaginary friend, the stories passing generation by generation.

So, more than a good film with spectacular special effects. A film about ...true truth.

Can't remember the last time I cried in a movie theater, but man A Monster Calls perfectly sums up my biggest anxieties of growing up: the fear of loss, fear of change, that moment when you feel like you are never entitled to express your frustration that you become violent. The existence of this movie is more than enough for me. It's not quite subtle, though, but I didn't mind. Either way, I needed this. So it's like... Inside Out... and ParaNorman... and Bridge to Terabithia... except it's better... way better... Did I mention that it's also incredibly stunning? The acting is great: Lewis MacDougall is one of the most impressive kid actors I've seen this year, he amazingly carries this film that it would be a shame if he doesn't get nominated along with probably Felicity Jones.

Overall, it's powerful. It also gets a little too devastating. Even with all the pretty colors, it just straight-up acknowledges the pain and complexities of life and humanity. Reality stinks, but life's a journey. And dealing with it has always been a part of it.

(Saw this movie last month, but again, better late than never.)

A Monster Calls is the rare movie geared toward a younger demographic which refuses to pull an emotional punch. The movie explicitly states that the protagonist, Connor O'Malley, is "too old to be a kid and too young to be a man". The introductory tagline is the perfect way to relay the film's tone to the audience. From the brutally honest acting to the gorgeously animated "stories", A Monster Calls allows raw emotion to emanate from the experience. Magic on the screen happens due to the unique specificity of our hurt hero. The fantastical elements found in a typical family movie organically merge with the painful reality of adulthood. For example, a fight will begin building up in Connor and the anger will call out the monster. The monster is never a simple vicarious outlet for the young adult. Instead, the monster is a well-executed manifestation of perceived guilt towards a deeper truth. Liam Neeson's monster revels in the humanity of the moment while also holding a magnifying glass up to it. Life continues to get worse for Connor and each appearance leads to a gradual slip of harsh reality. Refreshingly, A Monster Calls never hides that uncovering important personal insight is a painful process. The climax makes up for one of the most touching revelatory moments in modern cinema. The value of the film is revealed in how both children and adults in the audience gain a better understanding of the inherently personal nature of grief. The way we deal with a loss can come across as something else entirely for ourselves. A wide release of the film will hopefully begin to kindle in an audience a desire for introspective cinema. In a sense, specific scenarios are able to paradoxically tap into a universally human truth. Movies like A Monster Calls show a better alternative to the next soulless generic blockbuster movie.

(RATING: ☆☆☆☆ out of 5)

THIS FILM IS RECOMMENDED.

IN BRIEF: A visually stunner caught up in the undergrowth of its own conventional storytelling.

GRADE: B

SYNOPSIS: A child suffers the harsh realities of life and retreats to another world.

JIM'S REVIEW: J. A. Bayona's A Monster Calls is a visually imaginative downer of a tale about a young boy who must learn to cope with grief. Based on the award-winning children's book by Patrick Ness and adapted by the author himself, the film uses animation and live action to tell its tale of woe. The results of this dark tale are enlightened by stylish direction and a highly effective performance by newcomer. Lewis MacDougall.

Mr. MacDougall plays Conor O'Malley whose life is filled with too many harsh realities: a mother suffering from terminal cancer (Felicity Jones), a distant grandmother (Sigourney Weaver) and a more distant father (Toby Kebbell), a cruel bully (James Melville). Real life offers no solitude, so Conor retreats to an imaginary world which brings with it a giant yew monster (Liam Neeson). During his visits, the tree creature provides some respite for Conor. He gives him sage advice by telling some stories to help this child through the darkness to find some solace in the real world.

A Monster Calls is more of an allegory and the film's narrative structure uses the format of interspersing animated vignettes as parables to the parallel story of Conor and his terminally-ill mother. Yes, the film is manipulative from the start, with its undeniable melodramatic set-up and ultimately tragic conclusion. The real world story is dull and so relentless in its brooding melancholia compared to the free-spirited other worldly realm and, at times, this reviewer wanted to stay in the latter. But the filmmakers treat their serious subject with such dignity and honesty, avoiding the maudlin and sentimental for the most part. There is so much to admire about Mr. Bayona's film. (The subject is not an easy task to sell to the general public. Not surprisingly, the movie is doing lackluster business in the States, although globally it is doing well. Nowadays, American moviegoers are looking to escape reality, such like the main character.)

Technically, the film soars. From Oscar Fuura's stunning photography to Fernando Velazquez's haunting music score, the film looks death squarely in the face and celebrates life. Seamlessly edited by Benat Vilplana and Jaume Marti, A Monster Calls uses its sumptuous visuals to its advantage. With swirls of bright watercolor washes adding a vibrancy to the film's story-within- a story format, the film efficiently contrasts the real from the unreal. Kudos to director Bayona and his team of artisans on their handling of this delicate theme.

The lead performances are all first-rate, Mr. Neeson voices the Monster perfectly and his motion capture performance is wonderful and so heartfelt. Ms. Jones brings superb understatement to her role as Conor's sickly parent. Her chemistry with Mr. MacDougall seems genuine and authentic. This young actor, in his film debut, is remarkable and runs the full gamut of emotions without one false note. Providing supporting work in their rather stock roles are Ms. Weaver and Mr. Kebbell who are merely serviceable, possibly due to the writing and characters.

A Monster Calls is indeed a Grimm tale, but one that deserves your attention. And be forewarned, bring a hankie with you.

I don't know who you would market this movie to. It's not a kid's movie, tho it tries very hard to look like one. It's not an adult movie (a boy and a talking tree), tho its themes certainly are mature. Both child and adult will squirm under the relentless emotional requirement with only a faint wisp of humor to lighten things up. Melancholy overload anyone? No?

But if you make it to the end, you'll have received an unexpected cathartic cleansing and a life lesson in your pocket that is hard, but beautiful in its truth.

Once you stop blubbering, that is.