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Gods and Monsters

It's 1957, and James Whale's heyday as the famed director of Hollywood classics is long behind him. Retired and a semi-recluse, he lives his days accompanied only by images from his past. When his housekeeper hires a young gardener, the director and simple yard man develop an unlikely friendship, which will change them forever.
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WHAT ARE PEOPLE SAYING?

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WHAT ARE CRITICS SAYING?

80

Variety by Dennis Harvey

Doesn’t always convince, particularly in the last lap. But it’s an engrossing, unusual, imaginatively executed bit of psychological gamesmanship nonetheless.
75

ReelViews by James Berardinelli

A rich, multi- layered portrait of a director from Hollywood's Golden Age whose own life was as interesting as any of his movies.
70

The A.V. Club by Keith Phipps

While McKellen's sharp performance provides the main attraction, the film wouldn't work without both Fraser, who brings something extra to a character who could easily have been a mere lunk, and director Bill Condon's careful integration of larger themes.
63

The Globe and Mail (Toronto) by Liam Lacey

As a portrait of a deliciously eccentric individual, Gods and Monsters features a vivid performance from Ian McKellen that makes you think not of James Whale but of Ian McKellen.
80

L.A. Weekly by Manohla Dargis

Curiously, one of the film's stranger effects is that it's more convincing as a meditation on desire and Hollywood than as a biographical exploration.
70

Film.com by Tom Keogh

Beyond the fantastic contrivances of Gods and Monsters, these performances are startlingly human.

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