“Be careful who you love, because Spring is coming and it’s a monster.”

Some critics has described Spring as ‘Lovecraftian,’–which is what drew me to it in the first place–and while a very good movie, Lovecraftian it’s not.  For it to be so would imply that it was based on, or somehow similar or related to, the work of H.P. Lovecraft and his Cthulhu Mythos.

And it’s not, not in the least.  Sure there are monsters, some even of the aquatic variety, and lots of water; but if that made a movie Lovecraftian, then Steven Spielberg’s Jaws could be as well (which it most definitely isn’t).

Because for a movie to be called so would mean that it not only involves monsters, but embody some of the underlying ideas of Lovecraft’s Mythos, which typically revolves around sinister forces aligned against humankind, whether on a larger or  smaller scale.

Now what Spring is is an awesomely taut, interesting love story.  It’s also best watched twice because you can see the care with which Aaron Moorhead and Justin Benson craft their story.  There’s virtually no wasted frames in the entire movie, with everything you see either helping to contribute to a feeling of dread or sell the underlying premise.

Though it’s not perfect, with its weakest scene being the one where Louise (Nadia Pilker) looks into supernatural means to cure her…condition.  The problem isn’t the scene in and of itself, more so than if a person had lived as long as she had, she’d probably have tried it already (though in the movie’s defense she might have done so because she found herself growing closer to Evan (Lou Taylor Pucci) and wasn’t thinking straight.

It’s no accident that that title of the movie is Spring, because the themes of death and rebirth run through the entire movie, most often in a very clever fashion.

The season of Spring has begun on iTunes, though be careful because while love may be eternal, you’re not.