Navigating a postapocalyptic world in a persistent state of danger and anxiety is not, in its essence, groundbreaking. But when composed properly and exactly so, this overused cinematic trope can actually be interesting and comical.
On paper, Love and Monsters is a dystopian realm of unimaginable creatures and mutated animals with the ability to cause mayhem and devastation instantaneously. Nevertheless, Director Matthews’ approach was unsatisfactory and genuinely mediocre.
The monsters were, certainly by coincidence, adorable and completely charming creatures which appear to be aimed towards children more than loyal and committed fans of the monster/apocalyptic category. This positively served as an added value as the general ambiance and mood was heartening, mesmerizing and pleasant as an alternative to it being strictly anxiety-inducing and fearful.
Love and Monsters’ characters as independent pieces of fiction did not add anything new to the progression of the narrative. But when put in the film’s particular framework and ecosystem, they work flawlessly. Mirroring the creatures they dread most, the film’s personas were heartening, though a tad naïve.
Dylan O’Brien was surely in his element as he is too well-adjusted to the genre. But facts be spoken, his existence and performance were lacking and rigid. Jessica Henwicks, O’Brien’s onscreen love interest, was also blank. Henwick and O’Brien, additionally, had zero chemistry whatsoever.
But, the film’s finest characteristic is definitely its picture-perfect graphics and visuals, though this was slightly eclipsed by a lousy score and second-hand cinematography. It could have easily used some resourceful camera techniques which depicts its monster-esque essence and overall story.
Love and Monsters may not have focused on displaying accurately appalling creatures as it initially indicated but it is still a really entertaining experience for the whole family to enjoy.
