Monsters of California
In the realm of cinema, there’s a unique category of movies that are so poorly received in terms of conventional filmmaking that they circle back to becoming cult favorites for their artistic, comedic, or entertainment value. They’re often referred to as “so bad they’re good” movies. “Monsters of California” seems to fit into this intriguing niche, where the unintentional humor, bizarre plot twists, or simply the earnest yet flawed execution of the movie makes it endearing to a certain audience.
Another is “Plan 9 from Outer Space” (1957), often cited as one of the worst films ever made, but it is cherished for its charm and innocence in attempting to tell a compelling sci-fi story on a shoestring budget.
“Monsters of California” marks the directorial debut of Tom DeLonge, intertwining the fervor of youth with the enigma of the paranormal. In the film, Dallas Edwards and his eclectic group of friends seek out the truth behind the mystifying, supernatural events occurring in Southern California. DeLonge, whose pursuits extend beyond his musical fame into the realms of the supernatural and NHI through his involvement with To The Stars Academy, embeds a nuanced authenticity into the film’s narrative. His advocacy for UFO disclosure and the deeper truths of our existence informs the storytelling, presenting a canvas where the angst of teenage discovery meets hidden reality. Co-writing with Ian Miller and Ian Thomas Miller, DeLonge leverages his multifaceted experience to craft a narrative that’s as much an adventure as it is a reflection of his work with To The Stars Academy, appealing to an audience that doesn’t yet understand.
“Monsters of California” is a fresh take on the UFO genre, diverging from typical alien invasion narratives to explore the roots of UFO conspiracy theories dating back to the 1940s, including nods to the AATIP program. The film, Tom DeLonge’s first foray into directing, treats the subject with a blend of humor and intrigue, much like DeLonge’s approach with To The Stars Academy. The movie is enjoyable as a standalone story, regardless of one’s beliefs, and hints at the potential for sequels that could look deeper into the phenomenon.
As for the film’s reception, some viewers have noted its amateur aspects, such as the acting and writing, but recognize the opportunity it gives lesser-known actors and the passion DeLonge pours into his projects. The involvement of Tom’s music and humor is evident throughout.
The film also carries a deeper message, arguably functioning as a form of disclosure rather than just fiction, supported by the inclusion of US Intelligence Officers like Luis Elizondo and Chris Mellon as credits. It aims to introduce the public to the various phenomena that could be shifting our understanding of the world.
“Monsters of California” alludes to the complexity of the UFO and phenomena narrative, encouraging viewers to stay open-minded. It suggests that multiple realities exist simultaneously and that our consciousness plays a role in shaping them. The film prompts us to choose love over fear.
The film “Monsters of California” gives a nod to Tom Campbell’s “My Big TOE” theory, which suggests that our reality is a vast, consciousness-generated virtual simulation where physical existence is secondary to a larger, non-physical context. It presents life as an evolutionary learning ground, informed by an integration of physics, philosophy, and metaphysics. The theory provides a framework for understanding our universe as a product of consciousness, aimed at fostering growth and evolution within this grand simulation.
In “Monsters of California,” the filmmakers have intricately woven a series of ‘easter eggs’ throughout the film—hidden references or messages that serve as a bonus to keen-eyed viewers. The film’s easter eggs are a treasure trove of metaphysical and spiritual concepts, each contributing to the overarching themes of the movie. Quantum Mechanics is used to hint at the underlying structure of the universe, perhaps suggesting a connection between the film’s events and the potential for multiple realities. Eastern philosophies like Taoism and Buddhism are referenced, possibly to draw parallels between the characters’ journeys and the concept of balance or enlightenment.
Gnosticism, Christianity, Islam, Judaism, and Sikhism are included to represent the spectrum of religious thought and the universal quest for understanding that transcends a single belief system. Consciousness is nodding to the idea that perception shapes reality—a core theme in films exploring alternate realities or dimensions.
The inclusion of various beings such as Angels, Devas, Asparas, Malak, and Demons, along with Archons, Asuras, Jinn, and Oni, serve to enrich the film’s mythological, drawing from diverse cultures to create a sense of universality in the supernatural elements of the phenomena. “The Others” signify entities or forces within the film that are beyond normal human understanding, acting as a bridge between the known and the unknown. The ‘Proxy War’ and ‘Battle for Souls’ happening now underscores the film’s immediate relevance, suggesting that the conflict portrayed is not just fictional, but a metaphorical representation of ongoing battles in reality and within human consciousness.
In the interview, Tom DeLonge shares his emotional reaction to incorporating his music into his film, “Monsters of California.” He reflects on how the lyrics, once written from a place of youthful wonder, now resonate with a deeper sense of enlightenment tied to the themes of the film. Delonge describes his journey, starting from seventh grade to his involvement with the government, as a quest that has made him question the very nature of reality. The movie aims to inspire wonder and encourage people, especially the youth, to search for meaning beyond the mundanity of everyday life. Delonge hopes the film will start conversations about the possibility of more out there in the universe.
The essence of “Monsters of California” may not resonate with everyone immediately; its reception is bound to vary across different perceptions of reality. However, as time progresses and discussions around disclosure and the unknown deepen, it is likely that the film, along with Tom DeLonge’s advocacy for transparency regarding the phenomena, will be viewed in a new light. The film deserves to become a cult classic, appreciated for its foresight and the importance to the World of Delonge’s role in challenging the current status quo, urging society to consider the truth.
