Posted May 23 2017

Colossal - This Movie Colossally Rocks

Dir: Nacho Vigalondo

Starring Anne Hathawy, Jason Sudeikis, Dan Setevens, Austin Stowell, Tim Blake Nelson

In which Anne Hathaway finds her very large mataphor...

Colossal begins 25 years ago in Seoul as a young Korean girl searches for her lost doll and then suddenly a mythical massive Kaiju appears. No explanation.

Then we’re in New York 25 years later and a drunken Gloria (Anne Hathaway) is being kicked out by her boyfriend (man of the year Dan Stevens.) Some explanation.

The borderline alcoholic Gloria then goes back to her old hometown, lives in her parents' now empty house, meets up with school friend Oscar – clearly still besotted with her, and continues to drink, now working at Oscar’s bar. Meanwhile on the TV news, the Kaiju has reappeared in Seoul. No explanation.

Worse still, the more Gloria watches said huge beastie on the other side of the world, the more it seems to be echoing her physical actions. It is some form of her inner expression? Her id run rampant in a foreign town? Her guilt made manifest? Again, no explanation.

But it is intriguing, and as a film, as winning as all hell. Vigalondo’s movie is fresh, original and brave – at least initially. As it unfolds it reveals itself as more than just some very offbeat American indie relationship comedy meets Pacific Rim, and begins to stand as an altogether more serious – and seriously metaphorical - look at the nature of addiction and the harm and damage it causes to those around you, from family and friends in the microcosm, to a rampaging monster whacking choppers out of the sky and upping the death toll by smashing buildings (surely a mainstream trope superhero movies and the like have all rammed home in recent years) in the macrocosm.

It’s provocative, funny, smart – but also knows how to turn nasty, and in the latter element, Sudeikis really proves himself, showing a side he has never had the opportunity to display on screen before.

Yes, it genuinely has trouble finding it’s ending and rambles through its third act like an out of control giant robot in a downtown Korean city. And as a result it finally resorts to some form of explanation – when it really shouldn’t or doesn’t need to.

But when it does find that ending, it’s totally and utterly satisfying. Right down to that last gag.

In short, Colossal is colossally good.


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