克罗索巨兽

怪兽在市中心同一位置每天同一时间像打卡考勤一样来破坏，棒子市民为啥仍然还是不离不弃，在废墟里班照上舞照跳吃嘛嘛香跟没事一样？怪兽最后一次出现了，大家伙全都像初次见面一样惊愕的盯着怪兽看来看去，就是没人逃跑，直到怪兽开始破坏了才恍然大悟:我们应该逃跑啊！拜托人家已经在首尔破坏了一个多礼拜了你们还在纳闷个啥？

The fourth feature of Spanish genre-bucking filmmaker Nacho Vigalondo (whose debut film TIMECRIMES 2007 is a mind-boggling wheeze on time-loop), COLOSSAL is a shaggy-dog story which marries a woman’s striving for temperance and getting her life back on track in the middle America with a kaiju’s mysterious manifestation in the hub of Seoul, thetelekinetic synchrony of their actionsflouts any rationale but it is an ingenious premise to tickle audience’s interest.

Gloria (Hathaway), a jobless writer has a drinking problem, is unceremoniously dumped by her piqued boyfriend Tim (Stevens) and has to move back to her hometown. She touches base with her childhood friend Oscar (Sudeikis), who is congenial enough to offer her a job as a barista in the bar where he has inherited from his father, although it isn’t a perfect option for a woman who tries to dry out, but a woman needs to survive, Gloria takes the offer.

When a Brobdingnagian monster repeatedly materializes in Seoul at the exact same place and same time (8:05 a.m. in Gloria’s time zone) and afterward vaporizes into the thin air, a personal tic triggers off Gloria’s curiosity and following a simple experiment it certifies that the monster is actually her avatar: if she walks into a playground nearby exactly at that time, the monster will simultaneously appear in Seoul and whatever she does during that special spatio-temporal frame, the monster will follow suit, which means it can wreak disproportionate havoc to the city of Seoul. If that is the case, why not staving off from the magic playground at that particular time, everything will be easy-breezy. Nevertheless, the plot thickens when Oscar steps in, it turns out that a giant robot is his remote avatar, Gloria must thereby handle with care of their increasingly passive-aggressive relation especially after she spends a romantic evening with their common friend Joel (Stowell), because it seems that Oscar is enamored with her, or is he?

What follows is a rather unexpected change of gear, the movie’s light-hearted backbone and absurdity subsides when Oscar lets rip his domineering bearing over Gloria by threatening to rampage Seoul if she disobeys, and more upsettingly, there is no specific reason behind his transgression, it is not that he is driven by jealousy or a past grudge, it is just his complexion, a self-hater who takes insidious pleasure in making other’s lives miserable, which essentially stems from his own unhappiness, stuck in a dead-water life in a small town. As a barkeeper, there is not much deal he can bargain, but now, possessed with the destructive superpower, he has the leverage to hector Gloria into subservience, and it is not difficult to detect its mordant connotations pertaining to today's reality (an egoist's bullying culture) and a slightly offensive sideswipe at small-town dweller’s low self-esteem.

How can Gloria defeat this man-demon in her own way without a third-party’s involvement (its shoe-string budget doesn’t allow it)? Vigalondo again proves his innovativeness (with a junket trip to Seoul as its rewarding divvy)in the genre storytelling, after a convenient memory recovery of what instigates their avatar’s presence in Seoul in the first place, which happened 25 years ago when both Gloria and Oscar were school-kids (a cheap CGI of thunderclaps is a requisite for the scenario), Gloria outsmarts Oscar with a deus ex machina (which has no logic groundings but story-wise, an emboldening maneuver) and triumphantly humbles her indomitable nemesis. In toto, gingered up by two outstanding performances from Hathaway and Sudeikis, in particular the latter’s gradual metamorphosis from a goody-goody to an obnoxious sadist, COLOSSAL shores up a strong feminist manifesto of a woman’s own freestanding ritual of finding back her mojo, against its built-in limits in rounding out its yarn of incredulity.

referential point: Gareth Edwards’ GODZILLA (2014, 6.4/10)

《克罗索巨兽》可算是电影中人物关系失败的一个例子，角色与角色的关系有很多失误之处。

《克罗索巨兽》这部电影可以说是拿到了一个好的创意却遇到了一个坏的剧本。

电影里那四人帮里除了歌洛丽亚和奥斯卡以外那两个人名字忘了，暂且称为称为小伙子和瘾君子。

失误一 多余的角色

按照剧情来看女主角歌洛丽亚的男友应该是处于很重要地位，因为他在开端高潮结局都有出镜。但令人费解的是歌洛丽亚的男友始终处于一种跑龙套的状态，不时地跳出来告诉观众“还有我这个人哦”。

歌洛丽亚和男友的故事线与巨兽的故事主体（歌洛丽亚与奥斯卡的故事线）根本没有太大关联，将歌洛丽亚男友这段除去，主体完全能够存在，甚至更简洁。歌洛丽亚和男友这条线只是主体的一个外部框架，其存在意义是为了给歌洛丽亚提供一个逃离奥斯卡的选择。

歌洛丽亚和男友的情节是不完整的，编剧完全没有交代一切都结束之后歌洛丽亚回到男友身边的事，花了那么多心思去描写两人，最后却不提及，反而选择了在韩国小吃店里结束全片。

失误二 忽略瘾君子

自从瘾君子和奥斯卡闹掰了之后瘾君子就再也没有戏份，甚至连结尾小伙子得了个镜头，瘾君子却连一个镜头都没有。且不说作为四人帮成他和小伙子的作用太低，瘾君子好歹也是一起去公园测试巨兽的重要角色，是能这样用完就扔的吗？

失误三 弱化小伙子作用

小伙子可是和歌洛丽亚上过床的人啊，在小伙子对歌洛丽亚的情感上，但他做了什么？什么也没做。奥斯卡对歌洛丽亚恶意相向时他在做什么？只是傻傻地看着，傻傻地跟着奥斯卡又不敢反驳他。作为共享巨兽秘密的成员之一，小伙子的作用本可以有更重要的意义，但却完完全全被弱化了。

无论是什么电影，既然确立了“小团体”的存在，就必须要护住这个团体，过度强调个别角色的存在只能顾此失彼，使其他角色失去其存在的色彩。

我安妮笑得好漂亮！笑出强大！