The First Bite
There’s something primal about a creature feature—the way it strips humanity down to its most basic instinct: survive. Monster Island, the latest from Singaporean filmmaker Mike Wiluan, doesn’t just rely on the gnashing teeth of its mythological Orang Ikan. It forces two wartime enemies to confront an even older horror: each other.
Blood in the Water
Set in 1942, the film strands a disgraced Japanese soldier (Dean Fujioka) and a vengeful British POW (Callum Woodhouse) on an island where the real threat isn’t their mutual hatred—it’s the amphibious nightmare stalking them. The Orang Ikan, a creature ripped from Southeast Asian folklore, is less Jaws and more Black Lagoon with a wartime twist. The trailer’s standout line—“This thing comes back—we need to be ready for it!”—hints at a cycle of violence, both human and monstrous.
Behind the Scenes
Shot at Indonesia’s Infinite Studios, the film leverages its jungle setting for claustrophobic dread. Wiluan, known for Motel Melati and gritty genre work, seems to relish the irony: a WWII story where the soldiers’ biggest enemy isn’t the war, but the unknown. The Singapore Film Commission-backed project premiered at the 2024 Tokyo Film Festival, a fitting launch for a film steeped in regional myth and global conflict.
The Catch
Will Monster Island transcend its B-movie roots? The premise—enemies-turned-allies—isn’t new, but the Orang Ikan’s cultural specificity adds fresh teeth. Shudder’s gamble on international horror (streaming July 25, 2025) could pay off if the film balances creature-feature thrills with the deeper horror of wartime dehumanization.
Final Thought
The best monster stories are never just about the monster. They’re about who we become when faced with the unimaginable. Here, the Orang Ikan might just be the mirror.
