“By the end, even the director seems to have given up the ghost if the clumsy, half-baked final chapter is anything to go by. “
Colossal falls into the category of ‘quirky’ cinema. Quirky cinema then tends to divide into one of two categories: ‘well written, surprisingly deep and meaningful beneath the quirkiness’ or ‘quirky for quirky’s sake’.
This Nacho Vigalondo directed piece is entrenched firmly in the latter camp.
Politely yet firmly nudged out of her (her boyfriend’s) New York apartment, unemployed party girl, Gloria, (Anne Hathaway), returns to her home town. There, she stays in an empty, furniture-less house that presumably belongs to her, though this is not established. Here in small town America she intends to get her life back on track again.
A chance meeting with Oscar (Jason Sudeikis) – an old acquaintance whom she vaguely recalls from their primary school days together – is initially a positive thing. Oscar owns a bar and invites Gloria to work there, at least until she’s settled back in the area again.
Gloria accepts and she, Oscar and a couple of other regulars strike up a sort of ‘after hours’ friendship, and her life soon drifts back into an all too familiar routine of late nights and alcohol.
It’s only when news comes from South Korea that a giant monster has begun to terrorise residents of Seoul, that Gloria’s unspectacular small town existence begins to liven up through a quite astonishing discovery. She is somehow connected directly to these herculean happenings that are playing out on the other side of the world.
It seems that at 8.05 am each morning, whatever physical movements that Gloria makes within the bounds of a local kids playground, are replicated exactly by the Godzilla-esque beast so many thousands of miles away. But whereas Gloria’s footsteps are merely innocent shuffles through the Autumn leaves, the monster’s are huge destructive hammer blows to both Seoul’s buildings and to its people in the streets below.
It’s certainly a ludicrous not to mention hugely ambitious narrative that director Vigalondo must sell to his audience, and one that consequently requires a massive suspension of disbelief on their part, to put it mildly.
Unfortunately, the whole shebang suffers badly from a combination of poor writing, ill-explained phenomena and plot holes as large as the monster’s considerable footprints. Despite Hathaway and Sudeikis putting in convincing turns in the film’s key roles, Colossal sadly comes across as little more than an incoherent, mad adrenalin rush of overblown ideas. By the end, even the director seems to have given up the ghost if the clumsy, half-baked final chapter is anything to go by.
Yes, there are clearly metaphors at play here, and there’s something of a back story to consider which should help to make better sense of things, but all such subtle devices seem so hopelessly lost within the film’s bungling storyline.
To some extent, Colossal masquerades as innovative film-making, hiding as it does behind a certain level of deceptive quirkiness. It may well have been Vigalondo’s noble intention to swerve all things cliched and unoriginal, and full marks for that, but ultimately, like so many before him, the allure of Hollywood proves to be too seductive. In a flurry of contrived nonsense, and amidst a tidal wave of mildly motivated Korean extras, Colossal trundles haphazardly towards its inevitable conclusion.