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  • Writer's pictureS.J.

Quick Reviews: 'Love And Monsters', 'Capone' | Dylan O'Brien Risks It All, Tom Hardy As A Crime Boss

Dylan O' Brien with a bow, Tom Hardy on the phone
Love And Monsters (L), Capone (R)


You just gotta love it when a film decides to lay it all out just in its title because Love And Monsters certainly delivers both of those things in neat fashion. Helmed by director Michael Matthews with a script from Brian Duffield and Matthew Robinson, the movie finds a thoroughly likeable lead in Dylan O'Brien who once again finds himself running away from things, very much like in his 'Maze Runner' role.

O'Brien plays Joel who lives in a bunker (also called a colony) with several other people after a fallout turned the Earth to an apocalyptic state, with animals transformed into huge monsters. Joel's parents were killed during the evacuation when he was a teen and his girlfriend Aimee (Jessica Henwick) is separated in another colony 85 miles away. He decides to make his way to her base, accompanied by a wonderful dog and helpful strangers along the way, as he'd rather live or die with someone he loves than live or die without her. Playing to its strengths primarily, the movie is all kinds of fun and charming so you end up just going along for the ride.

Perhaps we should reverse time first and start with the monsters instead of love since they are mainly the thing that makes the 100 minute trip so fun. They are indeed mutated animals so it's nice to see that they are familiar enough (crabs, worms, centipedes) even if they look eerie in the forest/jungle setting, lazier movie would've made them much more horrific and made the stakes a little too high for one young man. Also considering how much natural and artificial light there is, the VFX on the monsters and action sequences are really well done and when keeping the budget of $30 million in mind, it is pretty insane that only a few shots with a crab creature in the end look dicey. One thing that isn't CGI and should be highlighted though is the dog in the film, hopefully the dogs and the trainer got paid well because the dog acting is off the charts here and it wasn't even used for cheap emotional manipulation.

Then we can get to the love part where O'Brien and Henwick come into play. The flashbacks are a bit awkward, especially when we learn how young the characters are supposed to be (casting younger for those short bits would've worked better) but they are quite good in present time. O'Brien gets to explore his range a bit more here and much of that is his comedic performance which should land him more roles in that field, I don't think anyone would mind that. Henwick works her best with the limited screen time she has but she also suffers from being stuck in the worst part of the movie.

A combination of Matthews' directing in scenes and his stunt team's work takes away from the fun adventure of Love And Monsters. The human villain is boring and unimaginative, people get knocked out from light hits, human fighting isn't what the movie is about and the dialogue becomes generic. The characters' love and those monsters are the interesting part.

Smileys: VFX, character design, Dylan O'Brien

Frowneys: Some issues with directing and stunt choreography

Between eating minestrone every day and those monsters, I think I'd take my chances with monsters too.


Dylan O'Brien holding a bow
Paramount Pictures


''A biographical drama about Al Capone who might have hidden 10 million dollars somewhere, only to not remember where while law enforcement is gathering intel about it? Give it to me right away!'' is what I might have said about director-writer-editor Josh Trank's Capone before it came out, granted that I had even heard about it coming out. Perhaps that is what you might expect from a movie that follows the infamous mob boss in his later life as he's out of prison by then, too bad that it may shock and disappoint you all the same to know that it isn't about that. What you do get in return is a confusing tale of an old fart that is as interesting as an earthworm, only to be slightly entertaining for a few moments here and there because the actors are really hamming it up.

It's not the Capone you're used to seeing and hearing about, instead we find him in his 40s (he died at the age of 48) as he has been diagnosed with neurosyphilis which causes brain damage. He has hallucinations, often defecates on himself and is physically regressing while the subplot follows FBI agents surveilling him for the suspected $10 million he could have hidden somewhere. Tom Hardy is really trying something else altogether in the role as the voice is rather gnarly (you surprisingly get used to it), there's some interesting prosthetic work going on it seems and whenever Capone is confused by his visions, Hardy really gets that through in the performance. Linda Cardellini (as Mae, Capone's wife) brings some emotional gravitas to the film in her small role while Kyle MacLachlan (as Dr. Karlock) plays the slimy doctor role convincingly.

Sometimes performances from a movie can be hard to judge as a whole later when the material isn't nearly as poignant, such is the case here. It's notable that Trank attempts to tell a story about this famous criminal when he is at his lowest as it's certainly ambitious but the thing is, the execution is just plain dull. The distinction between Capone's hallucinations and what is really happening as seen by other characters is constantly blurry but unintentionally it seems. Rules regarding making those separate are broken a few times so everything becomes a mess. Ultimately what you need to ask about the film as well is ''What did I get out of this?'' or ''What this film is really trying to tell you?'' and you frankly never get answers to them since the story or character arcs aren't fulfilling, informative or engaging. You're just left with poop stains from a delirious, diaper-wearing man with a golden machine gun.

Smileys: Acting

Frowneys: Characterisation, screenplay, story

The alligator bit was hilarious, you must admit.


Tom Hardy talking on the phone
Vertical Entertainment

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