Colossal entertainment of a bent and skewed kind awaits audiences with COLOSSAL, Anne Hathaway’s brave heart take on domestic violence, male manipulation and the canker of unrequited hanker.
COLOSSAL is a film in which a recognisably universal story is manipulated through a monster mash of genres – part rom com, part creature feature – and it works a treat in a meteoric, metaphoric euphoria.
The plot follows Gloria who has lost her high flying job and fiance due to being a tragic hostage in the battle for the bottle. She is the very opposite of her name.
She makes an ignominious return to her home town, rekindles an acquaintance with a bloke from her past and starts working in his bar. A drunk tending bar – now there’s a plan.
Anne Hathaway plays Gloria, seeking refuge in the town where she grew up and couldn’t wait to quit.
Oscar, played by Jason Sudeikis, supplies that refuge with a job and emotional support. It looks like we are set for a romantic reunion, “the life you are looking for is the one you ran away from” scenario.
COLOSSAL, however, says nope to that trope and Spanish Director Nacho Vigalondo throws a monster curve ball. While this cosy reunion is going on, news breaks that Seoul in South Korea is being attacked by a Godzilla like creature, an event that is is inextricably linked to Gloria and Oscar, the how and why explained in the second half of the movie.
Through the super nature element, the real nature of the narrative is revealed as the city of Seoul is under siege, and so is Gloria’s soul.
Goofy and gritty in one fell swoop, COLOSSAL is colossally fun but not frivolous, it takes the bull of bullying by the horns, locks them, and unlocks a mighty courage.
Great movies are about growth of character – COLOSSAL delivers a character growth spurt of monster proportions.