Little success in the bloodless family entertainment genre, Love and Monsters looks at himself with joy, and may even encourage us not to surrender ourselves in the face of adversity. Not so bad…
We were amazed the other day, during a conversation between moviegoers and fathers, exchanging our personal stories about the joy we enjoyed in introducing our children to the elderly. Spielberg, Joe Dante hope Zemeckiswhat “family” movies in the future will replace ours and, Back to the future, Gremlins, and so on. We generally agree with the fact that, no doubt, the current dangers of the Disney / Marvel house do not accomplish the same miracle of bringing around them a family that is happy to discover / rediscover together happily , rich, full of teachings, and probably most of all … So, when Netflix uploaded a beautifully titled “family movie” Love and Monstersand translated by Dylan O’Brienthe hero of Labyrinth, how can you not want to go and see what it is? Want to believe it, though …
Love and Monsters started well, with O’Brien perfectly compelling, engaging and fun with its fine flaws, a kind of Michael J. Fox for our time perhaps? A brief introduction to reveal the situation – not very believable but full of possibilities – on a planet now ruled by a giant mutated fauna that is forcing the rare human survivors to live in hiding, and we ready for a “post-grandchild” movie on the road to joy and humor, with many disgusting beasts trying to swallow Joel, our impossible hero … an undeniably fun program.
With fully acceptable special effects that make these famous monsters disgusting if not really scary (but the film is clearly not made to be scary, and that’s pretty good though…), that’s the palette of basic Hollywood sensations are effectively negated – fear, sadness, joy, anger -, with well -attracted secondary characters (good couple formed by Michael Rocker and to a lesser extent Ariana Greenblatt), with a moving AI and with the adorable dog with the hardness to lock the “family” bond of the film, the program prepared by Michael Matthews happens without great surprise -predictability is undoubtedly also part of the details… -, but not without the spectator’s delight. There’s nothing exciting either, and at this stage one can easily point out a paradoxical lack of imagination on the part of the scriptwriters … until the moment Love and Monsters seesaw, after a relatively impossible reunion between our adventurer and his beloved Aimee.
Since the last part of the film, which swaps the cards between “good people” and “bad ones”, by borrowing the theme that fans are familiar with walking dead from “man is a wolf to man”, still derails the “family film” program to something more … er serious perhaps. Thus, the ambiguity in the conclusion of the “love story” (as opposed to the “monster story”) between Joel and Aimee may disappoint the film’s “blue flower” audience, even if it clarifies the real subject. in the film: the The real reason for this more initiatory “journey” than one would think is self -awareness, which leads to the possibility of a real openness to the world, no matter how angry and uncertain it may be.
Accepting an attitude of compassion towards “monsters” themselves, unnecessary monsters, and taking the risk of surviving no matter what the consequences, here are two messages that relate to our time of double self-retreat, facing an “other” that we increasingly view as an enemy, and facing a virus that is radically changing the rules in our world.
Yes, “family film”, as long as it is fun and intelligent, that is, the belief in the traditional role of cinema continues, still continues. Superheroes haven’t erased it yet.