Film

Little Monsters

Name: Little Monsters
Genre: Horror, Comedy
Released: 2019
Cast: Lupita Nyong'o, Alexander England, Josh Gad, Diesel La Torraca, Kat Stewart

Other titles called Little Monsters: the 1989 film.

Fantasy

A cheerfully unhinged Australian horror-comedy where a failed musician, a kindergarten teacher, and a children's TV host fend off a zombie outbreak with wit, heart, and increasingly desperate improvisation. It's *Shaun of the Dead* with glitter, genuinely funny, and surprisingly touching about what it means to show up for people who depend on you.

TMDb rating

3.2

Should you watch it?

Watch it if you like zombie comedy where gore and sugary kids-show cheer collide, with a warm, slightly scrappy affection for its unlikely heroes and a taste for the absurd.

Skip it if you need your horror to be genuinely scary, since this leans on silly bloodshed and a jokey tone that keeps the dread at arm's length.

What it asks of you: Brisk and fairly light at ninety-four minutes, it keeps swapping squeamish gags for earnest sweetness, so go with its mood swings rather than waiting for one tone to settle.

Not sure? Find tonight's pick in a minute.

If you liked this

Shaun of the Dead2004

The obvious ancestor. British wit applied to zombie mayhem, a pub as a fortress, and genuine affection for its characters. If you love *Little Monsters*, you'll recognise the DNA.

But Slower paced, more grounded in mundane British reality. Some find the romance subplot distracting from the actual undead invasion.

What We Do in the Shadows2014

Taika Waititi's mockumentary about vampire flatmates in Wellington. Same tone: comedy through character rather than jokes, New Zealand/Australian sensibility, monsters as a lens for human awkwardness.

But No action sequences worth mentioning. It's entirely about deadpan dialogue and patience with absurdity. If you want thrills, look elsewhere.

The Babysitter2017

A babysitter protecting a kid from a cult of killers. Fast, colourful, irreverent, surprisingly gory, and genuinely invested in why the child matters. Same spirit of chaos with a conscience.

But Trades horror credibility for style. The kills are stylised rather than scary. Some found it too jokey for the violence it contains.

Not sure tonight? Get a pick in a minute, starting from Little Monsters

The wildcard

Something you would not have found on your own.

The Cabin in the Woods2012

Both films use comedy and genre awareness as armour for genuine stakes. Monsters and chaos are real; the characters protect what matters through wit and determination.

A horror film that deconstructs horror films. Playful and clever without being smug. It understands genre so well it can laugh at it while making you genuinely uneasy. Final act is spectacular.

But The conceit matters more than scares. If you go in knowing the twist, you've lost half the film. Some find meta-commentary exhausting.

Zombieland2009

Zombie comedy that understands you need characters you care about. Rule-based, fast-paced, and genuinely funny. Emma Stone and Jesse Eisenberg are wonderful together.

But Relies heavily on action beats and set-pieces. The humour is broader, less weird. Feels more Hollywood than *Little Monsters*.

Tucker and Dale vs. Evil2010

Subverts horror tropes by making the 'villains' the protagonists. Dark, clever, and funnier than it has any right to be. Tyler Labine is a treasure.

But The premise carries more weight than the execution. Some jokes land harder than others. Requires patience with gore played for laughs.

Happy Death Day2017

A college student relives her murder in a time loop. Witty, stylish, and balances genuine scares with comedy. Fast and fun without being dumb.

But Familiar formula played with competence but not brilliance. The mystery isn't particularly mysterious. Leans teen-comedy at times.

Ready or Not2019

A woman hunted by in-laws on her wedding night. Savage, funny, and genuinely tense. Samara Weaving is phenomenal. Darkly comic without losing stakes.

But Graphic violence. Some found the humour worked better when they stopped trying to take it seriously. Tonal whiplash if you expect consistent tone.

Housebound2014

A New Zealand horror-comedy about a woman under house arrest in a haunted house. Inventive, warm, and funny without winking at you. Genuinely creepy underneath the laughs.

But Low budget shows in places. The second half leans more horror than comedy. Slower build if you want immediate gratification.

Anna and the Apocalypse2018

A Christmas zombie musical. Yes, really. Charm, energy, and genuine emotional stakes. If you want something different that still earns its feeling.

But The musical numbers divide people sharply. Low budget shows. The tonal shifts from musical-comedy to apocalyptic horror can feel jarring.

Kipo and the Age of Wonderbeasts2020

A threat that's grotesque and absurd becomes a lens for exploring human connection, found family, and what you'd risk for people you care about. Both find beauty in weird, dangerous worlds.

An animated series about a girl navigating a post-apocalyptic world of mutant creatures. Gorgeous animation, killer soundtrack, and more emotional than it looks. Genuinely weird and genuinely kind.

But Animated, so some dismiss it immediately. Younger protagonist than *Little Monsters*. Takes time to find its footing in the first episodes.

Brain Damage1988

Both use horror comedy to explore dependency and corruption with sincerity underneath the grotesque. The monster in *Brain Damage* is seductive and disgusting in equal measure, much like the chaos of *Little Monsters*.

Frank Henenlotter's body-horror-comedy about a man befriended by a parasitic creature that turns him into an addict. Unhinged, genuinely disturbing, deeply weird. No budget but absolute conviction. A cult classic for reasons.

But Graphic sexual content and violent imagery. Shot on a shoestring and it shows. Tone is deliberately hostile to comfort. Not for the squeamish or easily offended.