
8-years-old Oscar Madly became traumatized. Around the same time that his mother left their family (with Oscar firmly taking his dad's side), Oscar witnessed a gay hate crime at school that left the victim bloodied and permanently paralyzed. Ten years pass. Oscar, befriended by his talking hamster Buffy, wants to get into a special effects make-up school (using his friend Gemma as a model), and has come to realize his spiteful father's anti-social, immature short-comings. Whe... (Full plot summary below)
Enjoy FREE movies and series with your Prime (USA) subscription or when you start a 30-day free trial!
Links compiled using automated software. Availability of offers subject to change / might be region specific / out of date.
8-years-old Oscar Madly became traumatized. Around the same time that his mother left their family (with Oscar firmly taking his dad's side), Oscar witnessed a gay hate crime at school that left the victim bloodied and permanently paralyzed. Ten years pass. Oscar, befriended by his talking hamster Buffy, wants to get into a special effects make-up school (using his friend Gemma as a model), and has come to realize his spiteful father's anti-social, immature short-comings. When Oscar meets co-worker Wilder at the hardware store, sexual feelings begin to stir but accompanied by severe stomach pains (the memory of the hate crime). A farewell costume party for Wilder brings Oscar's issues to a head, expressed sometimes in surreal terms.
Leave your thoughts about Closet Monster.
| Los Angeles TimesGary GoldsteinDunn juggles the story’s vital, at times fantastical narrative, eclectic imagery, and wellspring of human fears, flaws and desires with vision and confidence. But Jessup’s powerfully empathetic performance really seals the deal. |
| The New York TimesKen JaworowskiConnor Jessup wonderfully inhabits the teenage Oscar, who observes others while trying to find himself. |
| The Globe and Mail (Toronto)Barry HertzDunn’s work is a far more fantastical feat, one that mixes slow-burn drama with a welcome Cronenbergian sensibility. Oh, and Isabella Rossellini plays a talking hamster. Just try to top that. |
| The Hollywood ReporterHarry WindsorAutobiographical but also singularly imaginative, this formally exuberant bildungsroman plays like a Gregg Araki film with a dash of Cronenbergian psychosomatic body-rebellion thrown in. |
| San Francisco ChronicleG. Allen JohnsonIt’s ambitious, and has a great ’90s indie feel. |
| The Seattle TimesJohn HartlThe ingenious cinematographer, Bobby Shore, uses the Newfoundland locations to achieve some of his most striking effects. The result is sort of a horror film, but not really. It’s too funny to be categorized that way. |
| HitfixGregory EllwoodDunn demonstrates an impressive ability to bring his unique interpretation of the coming out process to life. |
| IndiewireKate ErblandDunn plays around with perspective and style, but all the flash doesn't obscure the film's emotion and heart, which are deep and true. |
| Cinema ScopeAdam NaymanMurder, masturbation, melancholy, molly-this is one overstuffed Canadian debut feature. Perhaps they should have cut the talking hamster. |
| Georgia StraightJanet SmithDunn's off-kilter risks show the same kind of daring that's made Xavier Dolan a star. |