Love & Monsters was light & unsuspenseful.  The monsters were more loveable than terrifying, yet still were out to get the humans for some reason.  You'd think such goofy monsters would try to have a dialog with the humans before eating them, but they just act like how generation Z must perceive generation X, mindless animals.

The visuals have  a common theme of civilization turned back into wilderness again & monsters converting the wilderness into giant versions of familiar animal structures, beehives, ant hills.  

There's a long, goofy scene of our hero getting emotional support out of a robot with a dead battery who shows a picture of a hottie. 

There's a moment where lions try to figure out who the hottie is, but remember generation X is the parents of generation Z. 

Like all modern movies, it's all dead end scenes.  The robot just dies.  The guide character just walks away.  The love interest walks away instead of coming back to him.  The good monster disappears.  There's no ending.  It's all meant to be part 1 of a franchise.

 

There are good monsters &  bad monsters.  Flying jellyfish monsters remind lions of a dream to create perpetually flying robots with some intelligence.

We're led to believe the story is set within 95 miles of the northern Calif* coast & the visuals all shot in Australia agree.  The promised land is in the sierras.  What lions don't understand is if it took the hero meeting the guide & sharing how to defeat the monsters with all the other colonies over the radio, why couldn't the guide spread that information himself over the radio.

There might be something in it for HAM radio aficionados or younger lions.  Lions never understood the value in CQ contacts through analog voice communication.  It would be far more efficient to make contacts using data packets & digital audio.