They have put up a fortune for special effects, so that the crabs, snails and other mutant critters turned into menacing post-apocalyptic monsters have fantastic credibility and are a spectacle, but they have forgotten the script. Of love and monsters, Netflix production wants to play the effervescence of the youth cinema of the eighties and, at the same time, the happy naivety of the science fiction series B of the fifties, but it has remained in an insubstantial hybrid between childish adventure and family-run weekend product that misses out on good work with vermin.
Pulling one idea after another out of countless better titles – the leeches of Count on me, the encounter with the robot of Wall · and… -, Michael Matthews and his two screenwriters, Brian Duffield and Matthew Robinson, from the series Divergent: Insurgent and of Dora and the lost city, They hardly contribute anything original, except for the fact that their main character is a pushover. And also, with details as crude as the customary writing trick of pulling a dog out of his sleeve, which contributes little to the story, with the sole intention that the young man does not go talking alone, verbalizing all his objectives and interiorities, in the interludes between successive encounters in his quest odyssey.
Of course, that so human cowardice in a universe of heroes in one piece never fits with the tone of the story, with the appearance of its protagonist and with his dialogues and actions. In fact, it ends up giving the impression that it seems like a movie written for an 11-year-old protagonist who, at the last moment, due to a business decision, has ended up playing a 29-year-old actor, who they already are, like Dylan O’Brien.