A heavy drunkard and a vicious bully. Both are colossal problems. Similarly, the idea behind the latest movie Nacho Vigalondo (Timecrimes, Open Windows) that combines indie dramedy with Godzilla flick kaiju to Pacific Rim. Even at one point had touched the realm of a thriller. Colossal is none other than a modern cinema product that addresses the genre as a tool for constructing the foundation rather than the limit. The end result of genre-defying work is often full of holes including Colossal but the resulting satisfaction is in fact comparable, At first, all look normal, featuring Gloria (Anne Hathaway), unemployed woman who was thrown out by her lover, Tim (Dan Stevens), from their apartment in New York due to alcoholism. Gloria decided to return to her hometown, hoping to rearrange life. Gloria's encounter with her childhood friend Oscar (Jason Sudeikis) is also simple (Successful businessman Oscar, bar owner only) reflects the romantic comedy-watching scene as the protagonist finds true love far from the luxuries of his old life. Accompanied by country music, Colossal is like a low-key indie. Until the gigantic monsters attacked South Korea.
Writing his own script, Vigalondo skillfully mocked expectations, either through the blending of genres or the development of characters and stories in a surprising direction. Vigalondo's understanding of the templates of each genre makes the film capable of scrolling away from every cliche, such as the absence of a phase of scepticism Gloria's friends hear his crazy story about connecting with monsters. Colossal immediately entered the mode of fun as he pleased as his character's attitude under the influence of alcohol. Speaking of fun, especially in the first half, Vigalando showed off the skill of comedy, The success of Colossal humour is driven by excessive effort reluctance to appear silly, at least not through a common path. It's all about quirky and weird comedy. When Gloria first realized her connection with a monster, for example. Bear McCreary's music sounded bombastic as well as intense rather than funny, which instead strengthened the humour of the impossibility of the situation. Of course, Anne Hathaway's matches acting quirky through facial expressions and giggle play a big role in smooth the pace of comedy. Whereas Jason Sudeikis capable runs two contradictory sides of his character.
Equally contradictory is the tone progression that reaches the mid-stage, jumping from light dramas to serious drama, too (as already mentioned) one scene rather grazed the building's intensity thriller. Quite the opposite of the atmosphere, but in keeping with the story's development as well as the character, which would potentially lose weight when it is forced silly, given Colossal raised the issue around oppression, both in the general context and inter-gender. Gloria, although a drunkard is less responsible, over time asserts the position of a woman who seeks to free herself from the restraints of men, ending up making it easy to support the process.
Related to the monster (and robot) aspects of the giant, Colossal fails, not even trying to offer a logical explanation. Because it is not necessary. The only logical hole worth questioning is the logic or rules in the movie itself (without reference to the real world). The rules about "when" and "how" are too left free by Vigalondo. Though such rules are important in order to keep the audience remains tied to the story, no matter absurd whatsoever. The deeper Colossal dig its lore about the giant monster, the messier, fortunately, at the same time, the dramatic studies offered are also more robust.
RATING (6/10)
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RATING (6/10)
Don't forget, give your feedback in the comment section
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