Crítica de ‘De amor y monstruos’
Título: De amor y monstruos
Título original: Love and Monsters
Dylan O´Brien (Joel)
Jessica Henwick (Aimee)
Michael Rooker (Clyde)
Dan Ewing (Cap)
Ariana Greenblatt (Minnow)
Duración: 108 min.
País: Estados Unidos
Director: Michael Matthews
Guion: Brian Duffield , Matthew Robinson
Fotografía: Lachlan Milne
Música: Marco Beltrami, Marcus Trumpp
Género: Aventuras. Supervivencia
Of love and monsters, the South African director, Michael Matthews, is on his way, after having directed several feature films and thanks to the fantastic visual effects of his latest work, the cinematographic Olympus: the Oscar.
Of love and monsters is a post-apocalyptic adventure film with a final moral very consistent with the times in which we live. Opens on Netflix on April 14.
“Love and monsters” trailer
Synopsis Of “De amor e monsters”
Seven years after surviving the monster apocalypse, the unfortunate but adorable Joel leaves his underground bunker to meet his ex. (NETFLIX)
A contemporary fable
Of love and monsters It starts from classic premises: a worldwide catastrophe that leaves few survivors and the subsequent internal conflict between facing fear or silencing it. In this universe, human beings have locked themselves underground andn colonies, daring to emerge only to gather supplies and expel the invading monsters.
Inside Of love and monsters, the protagonist, Joel, interpreted by Dylan O”BrienHe is very dear to his neighborhood, but he has a constant feeling of uselessness in everything he does; as if the most important thing was happening elsewhere. In a stroke of courage Joel decides to go in search of his love, or what he thinks is love, and risk his life, giving it a higher value than the fear of doing it.
21st century survival
Films about survival in a hostile world, including capitalist criticism and class struggle, have proliferated in recent years. To name a few of the best known: The Hunger Games (2012), from Gary Ross, Divergent (2014), from Neil Burger or The maze corridor (2014), from Wes Ball, in addition to the corresponding second and third parts; or newer tapes like A peaceful place (2018), from John Krasinski and The hunt (2020), from Craig Zobel.
Of love and monsters compete in the best category Visual effects From Oscar with the last and debatable, (at least for the specialized critic) film of Christopher Nolan, Principle. Among the other nominees are: Midnight sky from George Clooney, Mulan, from Niki Caro and The magnificent Ivan, from Thea Sharrock.
Conclusions of “De amor e monsters”
Of love and monsters It is still a teen film with a motivational message, but without the ambition to become the monster movie of the century; the protagonist is not the classic narcissistic superhero nor are his acts bombastic, in fact, he is rarely in real danger.
The resulting apocalyptic story is therefore harmless and extraordinarily hopeful. Of love and monsters ends with an emotional message: never settle, not even at the end of the world.