Linking in with that, Colossal struggles to find the right footing to begin with; not only does it play its cards far too early, with act one disappointingly rigid (again, in an attempt to balance the characteristics of an indie release and a mainstream hit) and underwhelming. Thankfully, it relaxes into a second and third act more aplomb, even when in need of tightening the transition between the two acts. Putting the weak execution aside and acknowledging the fact that the concept and narrative is genuinely terrific, the film often towers over its competitors in the marketplace because of its deft and profound approach to theme work. The script, as incoherent and overcooked as this review, to its credit nails the incorporation of metaphors and parallels into the fold, demonstrating an excellent understanding of alcoholism and the path it can lead you down. Thus, it seems only right to grant the script a pardon, mainly because its attempt to handle and juggle so much simultaneously is at the very least admirable.
Letting the script go for a minute (because of the trouble it is causing me to balance this argument), everything else involved is at the very least solid. Anne Hathaway delivers an excellently balanced and considered performance, perfecting the (often dark) humour well but never forgetting the weight of the matter at hand, providing a suitably complex turn as Gloria. Precise characterisation (important for narrative development) and the thoughtful portrayal of alcoholism encourage a character that the audience can root for, while recognising her flaws; there is certainly more to her than meets the eye and Hathaway pulls it off effectively. Jason Sudeikis, in a more dramatic role than expected, is solid enough as Gloria's seemingly helpful friend and manages to handle the meatier content surprisingly well - that is, until the very final moments demand something more emotive and it all becomes a little cringe-worthy. Still, a decent performance shouldn't come undone by a few weaker spells and Sudeikis is surprisingly sturdy in the role for the majority of the time. Stevens takes on a rather thankless, uninspired role but it is nice to see the talent on screen more. Vigalondo is more than capable in the director's chair, skilfully infusing the more fantastical elements of the pieces into the real-life, crafting a fine balance between the two. While the South Korean-set scenes are the most vibrant and enjoyable of the piece, there is enough technique throughout the rest of the film to be impressed by; he wonderfully uses angles and frames to demonstrate power and weakness of the characters and their respective developments. He is also great in reinforcing the thematic content of the film, detailing the content through some strong technical flourishes.
Why then, with so much good running through the film AND the offer of the originality we all crave in cinema, do I feel so indifferently about the end product? Besides the general unfocused tone and messy classification, Colossal is a little incoherent on the narrative front - we get a very brief explanation to the events of the film, including a few juicy, exposition-driven flashbacks but it is unsatisfying, like a last minute 'oh, we have a hole we need to get out of'. For a film striving to break conventions, it feels formulaic; for a film so inventive elsewhere, any explanation strikes you as surprisingly dull. It is disappointing, even with an impressive ending and profound consideration of the themes at hand, that you cannot fully buy into it. Melodrama sometimes consumes the film and we are left with a problem - one that prevents you from letting the film sweep you up in its own quirky little way.
I've never had more difficulty writing a review, hence my late night questioning. I absolutely admired what the film wanted to do, how it executed its carnage scenes and the profound thematic content itconsidered but could not otherwise warm to it or accept it in its final packaging. Great performances and direction do most of the heavy-lifting but Colossal attempts far too much to be productive and in juggling so many elements, tones and genres, fails to stick the landing and make it all worthwhile. It feels like a concatenation, rather than a satisfying, wholesome product, striving so desperately to be multiple things that it forgets how to master one of them efficiently.
This is one I'll really need more opinions on, so be sure to drop a comment down below or on my socials!
Summary: Colossal has one giant issue - it tries to be too much. It has some truly fantastic ideas, great performances, sturdy direction and uniqueness but it never coalesces into a satisfying whole, creating a rather frustrating (and ultimately underwhelming) experience.