the monster in the closet movie review

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Horror Movie Review: Monster in the Closet (1986)

Billed as a horror comedy, Monster in the Closet lacks both. However, it is a fun and silly homage to 50’s style b-horror/sci-fi.

In the small town of Chestnut Hills, California something nasty is killing off the locals. A monster that lives inside their closets.

At the offices of the Daily Globe, reporter Richard Clark (Donald Grant) is given the job of investigating the deaths. He’s been desperate for a chance to prove himself so heads off to the town of Chestnut Hills to find answers!

There he meets local biologist, Diane (Denise DuBarry) who confides in him that she thinks whatever has been killing people is some kind of monster. As the pair investigate, they grow closer but the death toll continues to mount. Leading to a national emergency being declared. The truth about what lurks in the closet is out and it seems as though nobody can stop it.

What a wild ride, Monster in the Closet is. It’s impressively entertaining and writer/director Bob Dahlin can be commended for working within the limitations of the budget. Which was clearly quite small when you see the rubbery creature in all its glory.

That’s not what you’ll remember about this movie though. No, the silliness of the plot, the wild opening and absolutely crazy finale is what you’ll remember.

That being said, it has got some pretty big flaws. The most obvious being the poor humour and even worse dialogue. The cast do the best they can with the latter but it’s pretty hopeless at times. Whereas the former, the humour, falls so flat because Monster in the Closet has one joke and runs it into the ground. Being 90-odd minutes long doesn’t help matters either.

As a homage, it works fine but if you have no understanding of just what is parodying at times, a lot of what the movie does will leave you feeling cold. It’s better then most would expect but it’s not a film that will hold up with multiple viewings.

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Monster in the Closet

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The Science Fiction Horror and Fantasy Film Review

Monster in the Closet (1986)

Rating: ★★.

Director/Screenplay – Bob Dahlin, Story – Peter Bergquist & Bob Dahlin, Producers – Peter L. Bergquist & David Levy, Photography – Ronald W. McLeish, Music – Barrie Guard, Special Effects Supervisor – Martin Becker, Monster Designed by William Stout, Production Design – Lynda Cohen. Production Company – Bergquist-Levy

Donald Grant (Richard Clark), Denise DuBarry (Professor Diane Bennett), Henry Gibson (Dr Pennyworth), Paul Walker (‘Professor’ Bennett), Donald Moffat (General Turnbull), Howard Duff (Father Martin Finnegan), Frank Ashmore (Scoop Johnson), Kevin Peter Hall (Monster), Claude Akins (Sheriff Sam Ketchem), Jesse White (Ben Bernstein), Paul Dooley (Roy Crane), Stella Stevens (Margo Crane), John Carradine (Old Joe Shempter), Stacy Ferguson (Lucy)

Richard Clark, a reporter with the San Francisco Daily Globe, pushes his editor for a chance at a serious story. Hotshot reporter Scoop Johnson amuses himself by pulling an old clipping out of the wastepaper basket and sending Clark on a wild goose chase to investigate a series of deaths in the small university town of Chestnut Hills where people have all been killed in closets. Clark arrives in Chestnut Hills and begins investigating, encountering Professor Diane Bennett who has theories about what is happening. Together, they encounter a monster that emerges out of closets. As the closet monster proves unkillable by normal firepower, a state of national emergency is called and the military are brought in.

Monster in the Closet was the only film ever directed by Bob Dahlin. Dahlin has a film career stretching between the 1970s and the present where he has worked as a second unit and assistant director with credits on films such as Damien: Omen II (1978), And Justice for All (1979) and Popeye (1980), among many others. Monster in the Closet was picked up for distribution by Troma where it gained a modest almost culty reputation for a time.

Monster in the Closet came out not long after Joe Dante made The Howling (1981) and amid the era of other genre parodies such as Attack of the Killer Tomatoes (1978), Big Meat Eater (1982), Night of the Creeps (1986), Earth Girls Are Easy (1989) and Lobster Man from Mars (1989) where the tongue-in-cheek monster movie – one that spoofed and made references to films of the past as well as featured cameos from actors from these films – became almost a genre unto itself for a time.

Monster in the Closet may have been intended as a movie parody. On the other hand, less than the tongue-in-cheek tone we would recognise from the modern monster parody, it feels more like a film with an absurd premise that is otherwise taking itself seriously. What it does have is a number of scenes that quote other films. The monster is designed as another variant on the alien in Alien (1979), although never seems to do much that is terribly monstrous other than throw people around (this is one Troma film that is notably tame when it comes to their trademark over-the-top gore and creature effects. For that matter, the film never offers up an origin for the creature or any reason as to why it hides in closets, which is probably a wise thing). There is a sort of quote/parody of the Psycho (1960) shower scene. Elsewhere Henry Gibson insists on confronting the monster while tapping out on a xylophone the five musical notes used to communicate with the aliens in Close Encounters of the Third Kind (1977). The film’s most amusing parody is on King Kong (1933) where instead of abducting the girl, the monster instead prefers to abduct the hero (Donald Grant), thus justifying the title – there is even a variant on the classic last line offered up at the end with “It wasn’t the closet. It was Beauty that killed the beast.” This gave Monster in the Closet a certain LGBT community relevance at the time it came out, although nothing more is made of this beyond the reversing of King Kong ‘s sexes.

The film has an impressive cast – far more well-known names than you would usually find filling out the cast list of Troma films. Leads Donald Grant and Denise DuBarry have never gone on to any recognition but in supporting roles you have names like Henry Gibson, Claude Akins, Donald Moffat, Paul Dooley, Stella Stevens and Howard Duff, not to mention John Carradine, one of the most prolific B movie actors of all time, in one of his last roles. There are also names such as Frank Ashmore who gained a certain amount of attention in the tv series V (1984-6) and as the monster Kevin Peter Hall, the 7’2″ actor who played both the Predator and Bigfoot in Harry and the Hendersons (1987). The most fascinating though are the names that were unknown at the time. The bespectacled kid who is nicknamed ‘The Professor’ is none other than the late Paul Walker who would grow into an A-list star as the hero of The Fast and the Furious movies, among others. There is also Stacy Ferguson, better known as Fergie, the lead singer of The Black Eyed Peas, who plays the blonde pig-tailed girl who enters the closet and gets devoured in the first five minutes of the film.

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Monster in the Closet (1986)

Posted by FilmNerd | Nov 30, 2021 | Comedy , Cult Films , Reviews , Troma Tuesdays | 0 |

As kids, we were fearful of monsters lurking in our bedrooms, whether under the bed or in the closet. We realize just how dumb this fear is as we get older, eventually getting over it. In 2001, Pixar tried showing us what the monsters living in our closets were doing when we weren’t sleeping. That movie was  Monsters, Inc. , and it showed us that not all monsters are nasty. However, years before Sully and Mike Wazowski warmed our hearts, writer/director Bob Dahlin tapped into that fear. Dahlin started the industry with the 1973 short film Norman Nurdelpick’s Suspension: A Tribute to Alfred Hitchcock . After that, he worked as an assistant director on movies like  Damien: Omen II ,  And Justice For All , and Popeye . In 1983, Dahlin directed his only feature film,  Monster In The Closet , though it wouldn’t see a release until 1986.

In a quiet college town near San Francisco, a series of murders has the townsfolk in hysterics. Obituary writer Richard Clark (Donald Grant) is assigned to report on the recent deaths and figure out what’s happening. He meets local science teacher Diane Bennett (Denise DuBarry) and her intelligent son nicknamed ‘Professor’ (Paul Walker). Soon enough, they discover what’s responsible for the murders: a hideous monster (Kevin Peter Hall) who lives in people’s closets. Local eccentric Dr. Pennyworth (Henry Gibson) tries reasoning with the beast and gets clawed to death. General Turnbull (Donald Moffat) and his forces try to destroy the monster, but none of their weapons are successful. With seemingly no options left, our heroes have to fend for themselves against the closet-dwelling monster. But is the monster murderous, or is he misunderstood and possibly looking for love?

Monster in the Closet is one of those movies whose idea is more entertaining than the movie itself. This movie isn’t what I’d call a lost Troma classic, but that’s not to say it’s all terrible. The filmmakers wanted to make a spoof of 50s monster movies, though not many jokes land. It doesn’t help either that there are several dead spots, and it takes a while for things to get going. A few gags were pretty funny, particularly a montage of people from all over the world trashing their closets. Another memorable one involves the love interest Diane in a trance whenever Richard’s glasses fall off. One thing that makes this film stand out is the cast of notable character actors, which is staggering. You’ve got appearances from Henry Gibson, Claude Akins, Stella Stevens, Howard Duff, Donald Moffat, Paul Dooley, and John Carradine.

Another positive I can give this movie is the titular monster, which has a uniquely goofy design. Not only is its mouth constantly open, but it lets out a scream that repeats every time it’s on-screen. It even has a more petite mouth inside of its mouth, similar to the Xenomorph from Alien . I also like how there’s no explanation for what the monster is or where it came from. As I said before, tons of filler scenes drag the movie down until the monster shows up. It’s very similar to 1982’s  Nightbeast , though that at least made up for it with tons of blood and gore. I’d recommend the former between the two, though this would still make for a fun bad movie night. Overall,  Monster in the Closet doesn’t entirely deliver on the laughs and scares, but it has its moments.

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Monster in the Closet

• Paul Dooley, Paul Walker, John Carradine and Henry Gibson head up an all-star cast in this horror-comedy about a murderous but misunderstood monster!
• After several people and a dog are found dead in their closets, a mild-mannered reporter, a college professor, her son, and a befuddled professor band together to uncover the mystery. — Patrice Messina <[email protected]>
• In San Francisco, when several locals are found murdered in their closets, the rookie journalist Richard Clark is assigned to investigate the case. He stumbles upon the scientist Prof. Diane Bennett and her son "Professor" Bennett at the police station and befriends them. Soon they learn that a monster is responsible for the deaths and they team up with Diane's chief Dr. Pennyworth and Father Finnegan expecting to destroy the monster and save the world. — Claudio Carvalho, Rio de Janeiro, Brazil

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An early scene in “Closet Monster” reveals that the film will not remain completely tethered to reality. After hearing of his parents’ impending divorce, eight-year-old Oscar ( Jack Fulton ) retreats to his room to find his hamster, Buffy, looking distressed. “What’s wrong?” he asks. “I’m scared,” replies Buffy. It’s a jarring moment, to be sure, but an easily accepted one; who wouldn’t want their pets to respond in the voice of Isabella Rossellini ? Buffy becomes Oscar’s constant companion on his journey to adulthood and self-discovery, though her magic doesn’t extend to altering her age expectancy. “You do realize I’m not the same hamster you had when you were a kid,” she tells 18-year old Oscar ( Connor Jessup ) at the film’s end. “I’ve been replaced four times.” It’s a sly dig at both Oscar and his inattentive parents that no one noticed that the current replacement is a male hamster.

Like the superior “ Moonlight ,” “Closet Monster” tells the story of queer youth navigating the rocky waters of self-acceptance. Both films use imagery and camerawork as a means of evoking the protagonist’s feelings of uncertainty, but “Closet Monster” resides in a more surrealistic universe. In addition to chatting with Buffy, Oscar has constant visions of being impaled on a large iron pole, which juts from his stomach like a bloody, phallic object. This image is rooted in Oscar’s traumatic childhood discovery of the victim of a heinous, homophobic hate crime. Oscar’s psyche adopts the weapon used in the attack as a symbol for his own concerns about his burgeoning sexuality. It might be above my pay grade to say that pole is a coming out metaphor, but based on the film’s gory climax, that’s the way I interpreted it.

There’s no doubt in Oscar’s mind that he’s gay, and writer/director Stephen Dunn never makes this ambiguous. What he does subtly shade is the friendship that develops between Oscar and Wilder ( Aliocha Schneider ), a handsome co-worker at a Home Depot-ish hardware store. Wilder’s sexuality is left undefined, and Oscar is content not to inquire, as either option might lead to a rejection. Wilder’s feelings about Oscar are played far closer to the chest than Oscar’s feelings about him: When Wilder asks to borrow Oscar’s uniform shirt for his shift, Oscar lustfully responds to Wilder’s scent upon its return. Unfortunately, his onanistic glee is interrupted by a familiar, sharp pain in his stomach.

“You look different,” says Buffy to Oscar when he returns home after swooning over Wilder. “You’re in LOVE!” Rossellini’s delivery of the line is just great, a fearless response that serves as a mini-oasis of positivity. Oscar denies all, but his spirit animal knows better. His BFF Gemma (Sophia Banzhaf) also picks up on this change, playfully poking at Oscar for more details. In addition to being his companion, Gemma is also the model for Oscar’s F/X makeup. Oscar uses the resulting pictures as his portfolio when he applies at a college specializing in special effects. Since Gemma plans on pursuing a modeling career in Brooklyn after graduation, Oscar also photographs the headshots she’ll need for her own pursuits.

Oscar’s dad Peter ( Aaron Abrams ), with whom he has been living since the divorce, thinks Gemma is Oscar’s girlfriend. But he freaks out when he sees an innocent interaction between Oscar and Wilder. Peter is a douche-bro who clearly is a stand-in for society’s idea of what constitutes masculinity. He flaunts the women he’s sleeping with in front of his son, plays childish pranks on people, and is vindictive, homophobic and obnoxious. Though Oscar’s mother Brin ( Joanne Kelly ) never explicitly states why she left Peter, no explanation is required after seeing him in action. Oscar is just as bitter at Brin for the divorce as Peter is, yet his anger is fueled by different reasons.

Brin, like all the female characters in “Closet Monster” represents an escape from the often absurd societal notions of manliness, the same ideas that caused the hate crime depicted at the film’s beginning. They’re the same concepts Peter poisons Oscar with, and Oscar needs to shake from his psyche in order to be liberated. Yet the film is not always hard on Peter; there’s a lovely scene with him at the beginning where he uses a balloon to “fill Oscar’s head with dreams” before bedtime, which Dunn returns to later in a scene that may or may not be real.

You can mine several big diamonds of symbolism from this film, especially in scenes that blur the lines between reality and fantasy so much we can’t trust what we’re seeing. But, and this will surprise the hell out of my high school English teacher, I really didn’t mind being bombarded with symbols. “Closet Monster” is most successful when it uses fable-like qualities to allow us to feel Oscar’s emotions viscerally rather than narratively. With this in mind, it’s only fitting that Buffy the spirit animal ends the film by revealing her truth at the same time Oscar has become comfortable with his.

Odie Henderson

Odie "Odienator" Henderson has spent over 33 years working in Information Technology. He runs the blogs Big Media Vandalism and Tales of Odienary Madness. Read his answers to our Movie Love Questionnaire  here .

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Monsters in the closet - movie review.

Monsters in the Closet is full of some solid surprises as the door to this unhinged anthology of horror, once opened, can NEVER be closed.  Sure, sure, the acting is on the C-grade level, but that’s part of the charm as skeletons, zombies, and new homeowners come out to scare the pants right off of us!

When famous horror author Raymond Grant dies under mysterious circumstances, his daughter returns home to investigate his death. Jasmin discovers her father was using evil black magic to write his newest horror masterpiece. When the author's audio book is played out loud monsters, zombies and terrifying beings spring from the undead pages to haunt the living with hilarious and gore-iffic results.

But this anthology of horror and hysterics is only beginning as even severed hands want in on the action.  Full of fun and over the top situations involving mad scientists and beautiful blondes with a bloodlust that goes unmatched, Monsters in the Closet is quite the way get the New Year started when it comes to low budget entertainment.  You'll laugh yourself to the grave thanks to the evil on display in this anthology of the grotesque gone gonzo.

From The Snygg Brothers , and starring Jasmine Flores, Shanna Bess ( Manifest ), Valerie Bittner ( Beaster Day: Here Comes Peter Cottonhell ), Tom Cikoski ( Superbadazz ) , and Camilla Crawford , beware the Monsters in the Closet - on digital and on demand January 4, 2022 from Gravitas Ventures .

Go ahead and open the door.  Let these monsters out!

MPAA Rating: Unrated. Runtime: 89 mins Director : The Snygg Brothers Writer: The Snygg Brothers Cast: Luke Couzens; Shanna Bess; Valerie Bittner Genre : Horror Tagline: This Pandora's Box can not be closed. Memorable Movie Quote: Theatrical Distributor: Gravitas Ventures Official Site: Release Date: Digital and On Demand January 4, 2022 DVD/Blu-ray Release Date: Synopsis : When famous horror author Raymond Grant dies under mysterious circumstances, his daughter returns home to investigate his death. Jasmin discovers her father was using evil black magic to write his newest horror masterpiece. When the author's audio book is played out loud monsters, zombies and terrifying beings spring from the undead pages to haunt theliving. Never open a Pandora box that can't be closed.

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Review by Sally Jane Black Patron

Monster in the closet 1986.

Watched Jul 17 , 2023

Sally Jane Black’s review published on Letterboxd:

I have said this of other films, but this is definitely one of those films where you can just describe the things that happen in it, get some laughs, and call it a day in terms of any kind of review. It has no relationship with reality and doesn't care to. It's a comedic 1950s scifi-horror film, a mixture of mild spoof and irreverent humor. It's better than its budget suggests it would be; it has a surprisingly great cast of character actors lurking in the background.

And then there're the underlying themes. Though of course as a Troma film its humor crosses the line multiple times (ableist and racist humor show up and disappoint), its sillier comedy works - the very specific dates and times and the not-so-specific dates and times showing up now and again cracked me up. But the most intriguing part of the film is the inexplicably effective queer metaphor going on. It's messy to the point of being incomprehensible at times, but it's there. A closet monster who falls in love with a man, goes to San Francisco, and chooses death over going back into the closet... I don't even know how to process that. In a Troma film from 1986, it feels more sensitive than it has any right to be, and yet it's not at all sensitive. It's a punchline. And yet, at the same time, there's just a dash of sympathy in this aggressively ridiculous movie.

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[Movie Review] MONSTERS IN THE CLOSET

• January 25, 2022
• Amylou Ahava

On a misty night smelling of mold, a group of slow-moving zombies chases after a group of (slightly-less slow) people. We enter into the POV of one of the escaping victims, which makes for some nauseating running scenes, and some even more gut-wrenching eating scenes. Visually, the humor seems heavily influenced by Shaun of the Dead but on a much smaller scale. The Snygg Brothers do well with letting the audience know that they are working with a very low budget. The body parts definitely look like rubbery novelty items, but the struggle between death and not wanting to give up on life makes for an interesting segment with some fun surprises.

However, the humor of the first short does not work well with the second story. The story starts with a young couple buying a house and making the lofty decision to fix it up. A good portion of the clip comes from the two of them awkwardly laughing and getting agitated with each other. What starts as obnoxious couple talk turns into an obnoxious couple argument. The disaster of a house keeps the two busy for almost a year before the cutesy voices and Sisyphean amount of work ruins the couple. No clue why it takes so long, but the line “Till death do us fucking part, bitch” does garner some giggles.

The third segment focuses on a spoiled rich girl who falls for a boy from a much lower class and (despite the pleadings of her daddy) goes on a camping trip with said boy and his equally common friends. Like the previous segments, the directors struggle to make the stories reach an appropriate length, so they took already boring conversation and made them even longer. The conversation between the father and daughter drags on for an unnecessary amount of time while the directors should be focusing on the camping trip. While in the woods, one little death happens, and now the rich girl has to cover her tracks or lose her scholarship. This short does not provide a believable story or gore, but the actress does well with what she was given.

The final installment looks at the spacey but loveable Dr. Frankenstein and his not-so-cheerful wife. The good doctor adores his wife, but the passing of time makes Mrs. Frankenstein feel less and less attractive. What makes her feel even more unappealing occurs when she accidentally dies, and her husband successfully restores her life but not her looks. For the rest of the short, the couple argues because the husband continues to rebuild his wife no matter how many times she offs herself. The premise sounds simple, but the repetitive story actually becomes quite humorous.

The connecting plotline of Jasmin reading through her father’s stories consists mostly of heavy breathing and running, which is fine and the consistent tone which flows from story to story does well to connect the different tales. However, the directors must prefer inane babbling over atmospheric sounds because during each narrative break the video of Raymond talks non-stop. Is the anthology low budget? Very much yes. Is the acting pretty weak? Also, yes. Should you check out MONSTERS IN THE CLOSEST ? That’s a big…probably. The stories provide some solid moments and even create a level of nostalgia for the old Tales from the Crypt series or possibly a gorier version of Who’s Afraid of the Dark ? If you go in expecting greatness, then prepare yourself to get mad. If you go in looking for camp and silliness, you will be handsomely rewarded.

MONSTERS IN THE CLOSET  is now available on Digital and On Demand.

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Monsters in the Closet Reviews

A sour experience in horror. Monsters in the Closet gets some credit for originality in its script, but execution is too poor to be taken seriously, even in the field of horror comedies.

Full Review | Original Score: 1.6/5 | Jan 7, 2022

The less you think about the inner logic regarding how the stories come true the better. But anyway, Monsters in the Closet can still be a silly and gory entertainment if you are in the mood for zombies, black magic, unexpected comedy and tons of blood.

Full Review | Original Score: 6/10 | Jan 5, 2022

It's the comedic underpinnings that bind these four short stories.

Full Review | Original Score: 2/4 | Jan 4, 2022

A horror anthology that leans heavy on gross-out gags and crude humor. Some of the shorts are good, but it doesn't quite gel as a whole.

Full Review | Dec 22, 2021