The dissociative identity disorder of 1950s American culture—antiseptic Beaver Cleaver-ism vs. post-nuclear paranoia—is exploited to disturbing and amusing effect in “Monstrous,” an uneven but likable horror film with one of the better plot twists in recent memory. Add the staring, saucer eyes of Christina Ricci—the first thing you see—and the disquiet begins.
So does the juxtaposing of ’50s nice with ’50s dread. “Time to get up,” says Laura to her son, Cody , her face filling the screen. If the kid isn’t scared yet he will be. Despite her immaculate white pumps, crisp red polka-dot skirt, perky disposition and that two-tone Chevy station wagon , Laura is a woman on the run: to California and away from Mesa, Ariz., where her husband remains and the site of horrendous trauma.
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