Here are 3 good reasons to jump on Love and Monsters

What can we expect from a project conceived in 2012, confirmed in 2018, shot in 2019 and directed by a famous stranger (Michael Matthews), along with the star of Labyrinth (Dylan O’Brien), an actress experienced in supporting roles in big budget series and films (Jessica Henwick) and Yondu Udonta in Guardians of the Galaxy (Michael Rooker)? Not so much.

Love and Monsters this project. It was supposed to be released in 2020 in our beautiful old theaters by Paramount. Covid decided otherwise, reshuffling its distribution cards, favoring virtual and face-to-face streaming and popcorn-filled seats, even though about 300 American theaters are have the privilege of defending it at the beginning of October.

In France, it was secretly aired this Wednesday, April 14 on Netflix, amid the release of the series The snake what is Tahar Rahim, from above Madame Claudius and very good animated film Mitchells against Machines. And we give you 3 reasons to jump on it.

1. A comedy-style apocalyptic story

There are movies whose titles tell you everything you watch. Let’s take it titanic : you know very well that, in the end, the liner doesn’t like to rub ice. as The Murder of Jesse James by Coward Robert Ford : there, we immediately learn that Jesse James will be killed by this rude Robert Ford. or 127 hours, that’s the number of life hours we lost after seeing this Danny Boyle film.

Love and Monsters works on the same principle: we know there are monsters and love. But a third element can be added to this fairly basic equation: comedy. From the first seconds, the protagonist, Joel, becomes the narrator of a statement that harms the Earth and almost 90% of the population.

The mistake is bad luck: while humans fire missiles to destroy a meteorite that is relatively invasive, the second effect is the transformation, after the descent of the nuclear elements on the earth, into the innocent terrestrial animal.

Numerous casualties followed (including the President of the United States, eaten by a moth) and only one possibility of survival, trapping themselves underground. Everyone is told there are drawings and tones that want to be light. Looks like none of this is serious. A way like the others, for Joel, to ease the weight of the situation.

2. A molding that works perfectly

Joel is none other than Dylan O’Brien. The American actor is known to the public for his recurring role in the franchise The labyrinth formed since 2014, and left him little artistic freedom. With Love and Monstersthe actor seems to mock the courage and intrinsic strength of Thomas, the hero of Labyrinth, at better risk of saying he was somehow a hero. His particuliarity? “Freeza” as he confronts a monster.

When he suddenly decided to join his former first love 135 kilometers away, a member of his team then advised him, given his size and his worthlessness in combat: “Run and hide.” The result is a related idea of ​​molding the dust into an actor’s acting from a franchise that doesn’t have much to say.

At her side, Jessica Henwick and Michael Rooker allowed Love and Monsters to get an effective rhythm in the script. If Jessica were to take Aimee, Joel’s famous first love and geographical target, Michael Rooker, who seems to have come out of The Lost City of Zbecame his traveling companion for a few kilometers on the surface of the Earth.

The profiles of these characters make it possible to breathe life into a scenario that could have turned into a lonely and bloody journey for a Joel weighed down by events. On the contrary, charming and hospitable encounters arose, which were vain and routine.

3. An invigorating alchemy film

But what also makes Love and Monsters worked? First of all its influences, believed from the beginning: we see there the innovation of the first zombielandthe comic cynicism of Edgar Wright’s films (hello Shaun of the Dead) and an adventure not to be denied by a George Miller.

It also works because the film takes advantage of context. If its release particularly governs it in terms of closed rooms, its history, thought of for nearly ten years, nonetheless speaks precisely to our situation. Joel’s course above is unique because it can be linked to our concerns during the Covid era.

With a subtle balance between characters, scenarios, drama, humor and well-measured action, Michael Matthews has managed to create a low-budget ($ 30 million) apocalyptic film that never gets boring. us or gives us great facts, favoring the blind side of hypocrisy and looking in this sense to the discovery of another, this theme is too expensive for a Spielberg, while going to see modern part of Edgar Wright for the game. In short, run to see it. Finally, don’t move, it will happen through your sofa.

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