The various identity disorders of 1950s American culture antiseptic beaver clever-ism vs. post-nuclear paranoia have been exploited for disturbing and entertaining effects in “Monsters”, an unexpected but favorite horror film. One of the better plot twists in recent memory. Include Christina Ricky’s deadly, father-in-law’s eyes the first thing you see and the restlessness begins. Similarly, it is better to associate the 50s with the fear of the ’50s. “It’s time to get up,” Laura (Christina Ricci) tells her son, Cody (Santino Barnard), her face filling the screen. If the child is still not scared then he will be. Despite her impeccable white pumps, crisp red polka dot skirt, intricate nature, and that two-tone Chevy station wagon, Laura is a woman running away from California and Mesa, away from Aries. Where her husband lives and the place of terrible shock. Where the mother and child find themselves, as many scary movie characters do, is in a house by the lake, where the nightmares lie. Written by Carol Chrest and directed by Chris Sivertson, “Monstrous” borrow from their scary ancestors, as they borrow from them, and the strategies involve a great deal of confusion about what goes for dreams, nightmares, and reality. Is there really a river? Running like a spray of oil on the floor of Cody’s room? Is the “beautiful woman” he claims to be talking to at night really the animal with the many tent ponds that wake Laura up on the living-room sofa? Could Harriet Nelson be on the air so often, selling Hotpoint dishwashers? Are there only black and white creatures on television? Mrs. Ricci is imitating Donna Reed quite reliably, except when she has to change to Dana Winter. The atmosphere is pure Eisenhower administration, crossed by “The Blob”. Flixtor Films is the platform in the row of top streaming sites, browsing on the site is very easy and UI is very attractive.