Oliver Matheson’s review published on Letterboxd:
An extremely impressive work, this has actually set an unfair bar for other films to the point that I turned off a film 30 minutes in because I did not feel like it would have the artistic output that this did. Thank you for spoiling me Monos.
The greatest review I can give a film is my physical reaction to it (mouth hanging wide open during Snowpiercer, nervously clutching anything in sight during Starred Up), and a testament to Monos is that my eyebrows were cocked the whole time. Every single scene change surprised me, always presenting a shot or scenario I never expected. Monos was constantly engaging, surprising, and impressive, and I had the physical reaction to prove it.
Monos transports you up in the mountains and deep in the jungle with gorgeous panoramic views and beautiful cinematography. Wild and out of control, but held together by smooth yet kinetic camerawork. An art film for people who don’t like art films, managing to be artistic but never aimless. More than anything the word to describe this is visceral. You will feel like you are covered in blood, or that you’re standing under a flow of cold water. A fascinating look at unchecked youth, which is another way of saying unchecked humanity, peppered with fascinating glimpses of a life in captivity.
A story told by the faces of its performers, and all of these young actors are more than up to the task. Moisés Arias is an absolute force, his best performance since Nacho Libre (for the record, “why can’t we ever have just like a salad” may be one of the best opening lines in cinematic history). For something with such a singular look and feel the ending is a bit hackneyed, but that in no way diminishes the film’s power.