Hudson, who plays Steve’s mother, and Washington, who plays King’s cousin Richard "Bobo" Evans, both give impressive performances that could have shined even brighter given more screen time, and their characters offer great foils to the jury’s perception of Steve. ( Luce, It Comes at Night, Waves) and Mayers ( Dope) both bring a powerful authenticity to their roles, but the smaller contributions throughout the film are just as noteworthy. On paper, that ensemble looks great, and on screen, they’re even better. In addition to its conceptual premise, Monster boasts a star-studded cast, including Jennifer Hudson (soon to be Aretha Franklin in the upcoming film Respect), John David Washington ( Tenet, BlacKkKlansman), Dorian Missick ( Southland), Jeffrey Wright ( Westworld), and Nasir “Nas” Jones ( Belly). Monster is also told through a nonlinear narrative structure that's both stylish and thought-provoking, as motifs such as trust versus mistrust and the perception of truth are cleverly explored through parallel scenes from Steve’s past and his present. Meta-framed through the lens of filmmaking, Steve’s journey is presented through screenplays and monologues and even deconstructed by flashbacks to lectures from his film teacher (Tim Blake Nelson). While doing so, it becomes clear that Monster is an absolute masterclass in storytelling. From the moment the prosecutor (Paul Ben-Victor) delivers his opening statement and declares that the jury should behold Steve as a monster, the film strategically challenges our perceptions of the criminal justice system and those-both innocent and guilty-who are enthralled in it. As Steve's ties to a neighborhood acquaintance James King (Rakim "A$AP Rocky" Mayers) are revealed, Monster transitions into a cinematic exercise that tests the caveats of one’s perspective. However, it’s imperative to stick around to see Monster gradually unfold.