Colossal


Put ’em up!

(2017) Sci-Fi Dramedy (Neon) Anne Hathaway, Jason Sudeikis, Austin Stowell, Tim Blake Nelson, Dan Stevens, Hannah Cheramy, Nathan Ellison, Sarah Surh, Haeun Hannah Cho, Carlos Joe Costa, Melissa Montgomery, Christine Lee, Rukiya Bernard, James Yi, Alyssa Dawson, Miho Suzuki, Charles Raahul Singh, Jenny Mitchell, Maddie Smith, Everett Adams, Agamdeep Darshi. Directed by Nacho Vigalondo

It is said that within all of us there are both angels and monsters. For the most part, the majority of us try as hard as we can to keep that monster inside and let the angel out but it can be difficult, particularly if we are coping with more than we can handle. That’s when those monsters can show their faces and take control.

Gloria (Hathaway) has some issues. She is chronically unemployed or underemployed. She goes out and parties with friends most nights; sometimes for days. She drinks far too much and often doesn’t remember what she did the night before. Finally, her boyfriend Tim (Stevens) has had enough. While he loves Gloria, he can’t stand being around her anymore. Nothing he can say or do has helped. It’s time for him to remove this toxic person from his life and he not only dumps her, he packs up her stuff and tells her she has to move out of their New York apartment…or rather, his New York apartment.

With no other options, Gloria moves back to her childhood home upstate that her recently deceased mom left to her. While there she runs into childhood playmate Oscar (Sudeikis) who has an inheritance of his own – his parents bar. He offers Gloria a job waitressing there which she gratefully accepts although perhaps working in a bar isn’t exactly the best place to be for an alcoholic. By day, Oscar helps out by buying her things to help furnish her empty home; by night, they work at the bar which has bottomed out in popularity in recent years. Oscar has closed off a huge chunk of it, decorated in cowboy fashion. Gloria resolves to spruce it up and reopen it. In between, there are late nights drinking with Oscar and his friends Garth (Nelson), a philosophical drunk and Joel (Stowell), a handsome local who catches Gloria’s eye.

But things take a turn for the strange when news reports show a gigantic monster rampaging in Seoul, South Korea and then disappearing. Like everyone else, Gloria is amazed and alarmed. Unlike everyone else, Gloria discovers she has a strange connection with the monster. The monster makes strange hand gestures that are very much reminiscent of the same quirky gestures Gloria makes. She also discovers that the monsters rampages take place when she is in the playground at a local park. She begins to realize that she is the monster.

Before too long, a second monster appears – a giant robot and Gloria’s monster is needed to do battle with it. She also finds she needs to do battle in real life as well with someone she trusted who has become abusive and controlling. Can she summon the strength to fight on both fronts and in doing so, save the lives of millions of people in Seoul?

Giant monster or kaiju films have regained popularity recently with the successes of Godzilla and Kong: Skull Island as well as dozens of films in Asia. This is a very different take on them. Spanish director Vigalondo has been an up-and-coming name in horror films in recent years and this might just be his best work yet. It’s imaginative and thought-provoking, the latter of which being a rare quality in movies that are as entertaining as this one.

Hathaway gives a marvelous performance as a woman who has lost control of her life and who’s made a ton of bad choices, many of which were informed by alcohol abuse. She is appealing here as she is in most of her films and even though her character isn’t always doing the right thing we still end up rooting for her. Sudeikis is also a very likable screen personality and while the movie begins with him playing a role that is typical for him it changes somewhat as the film progresses. It’s really a marvelous role for him as it allows him to expand his range.

While the special effects reflect the movie’s small budget, the movie explores all sorts of things during the course of its run time from living with substance abusers to domestic violence and taking responsibility. These are some heavy topics for what is essentially a kaiju comedy that turns into something a little deeper.

This played the Florida Film Festival last month and one of the programmers for the Festival reported that a couple of angry ladies accosted him following the screening of this film and complained that it glorifies domestic abuse. Quite frankly with respect to the ladies making the complaint, I believe that their interpretation is quite a bit off the mark. One of the points that the movie is making is that domestic violence can come from people who are the nicest of guys outwardly; that’s why it’s so shocking when it happens in the film. Rather than glorifying domestic violence, the scenes depicting it show it for what it is – a disgusting, cowardly act.

While the movie’s final third is a little less impressive than the first two, it maintains interest throughout. Vigalondo has the annoying habit of having the onscreen characters visibly react to things that the audience can’t see which after having been done a few times gets to be a little bit annoying, but that’s really small potatoes. This is an inventive take on the giant monster movies that is both retro and modern. It’s cinematic fun of the highest order and should be a must-see for anyone who likes good entertainment with a dash of perspective.

REASONS TO GO: It’s definitely a different take on kaiju films. Hathaway makes an appealing drunk. Sudeikis is so charming to begin with his attitude change is all the more shocking. It is refreshing for a movie this entertaining to be this thoughtful as well.
REASONS TO STAY: It loses steam about 2/3 of the way through. The film has the annoying habit of showing actors reacting to things not revealed to the audience.
FAMILY VALUES: There is a whole lot of profanity and scenes of mass destruction and violence.
TRIVIAL PURSUIT: Hathaway was in the second trimester of her pregnancy while she filmed this.
CRITICAL MASS: As of 5/5/17: Rotten Tomatoes: 79% positive reviews. Metacritic: 70/100.
COMPARISON SHOPPING: Big in Japan
FINAL RATING: 8/10
NEXT: Unrest

Cold Souls


Cold Souls

David Strathairn shows an amazed Paul Giamatti what a soul looks like; being in Hollywood, he's never seen one before.

(2009) Sci-Fi Dramedy (Goldwyn) Paul Giamatti, David Strathairn, Emily Watson, Dina Korzun, Lauren Ambrose, Katheryn Winnick, Rebecca Brooksher, Michael Tucker, Armand Schultz, Boris Kievsky, Gregory Korostishevsky. Directed by Sophie Barthes

What is our soul, really? Is it just a concept, as ephemeral as a thought? Or is it something real and tangible, something that can be made physical and as such, something that can be removed if need be?

Paul Giamatti (playing himself – kind of) is an actor who has been lauded for many performances and is currently taking on the role of Uncle Vanya in a Broadway production of the Chekhov play. It’s meant to be a comedy, but Paul is having issues. He is feeling too much and his performance is suffering.

He reads an article in the New Yorker about a service in which souls may be extracted and stored. Intrigued, he meets up with the man behind it, Dr. Flintstein (Strathairn) who assures him that the procedure is painless and safe. After some reluctance on his part at first, Paul finally decides to do it.

The operation is as promised; brief, painless and safe. At first, it’s like a great weight taken off of his shoulders. Surprisingly, whereas souls took all sorts of odd shapes and sizes, Paul’s looks very much like a chick pea – or garbanzo bean if you prefer. Such a small thing, Paul muses, but such a great weight it carries with it.

At first things are swell. But as time passes, things are not swell, as things often become. Soon, Paul’s wife Claire (Watson) – whom he never informed about his procedure – notices a change in Paul’s personality. So does the director (Tucker) of the play, which is very disturbing as they are days away from opening and Paul is clearly not even close to ready. It seems that Paul’s soul was necessary after all and he returns to the clinic to have it re-installed.

Except it’s missing. As it turns out, there is a high demand for black market American souls in Russia and a mule named Nina (Korzun) has taken Paul’s soul, thinking it was Al Pacino’s, for the girlfriend (Winnick) of a Russian mobster who yearns to be a movie star. Paul must journey to Moscow to retrieve his stolen soul in the company of a sympathetic Nina, who has elements of all the soul’s she’s carried within her, including Paul’s. However he’ll have to brave the wrath of a Russian gangster and the bureaucracy of the former Soviet Union if he’s to get his real soul back.

Not many would tackle souls as a subject for a movie in a Hollywood that is politically correct, for fear of offending the religious right or the non-religious left. In that sense, Barthes is an equal opportunity offender here but I don’t get that’s her actual goal.

She’s gathered a decent cast around her. Giamatti is an Oscar-nominated actor, one who has been giving consistently strong performances nearly every time out since his coming out party for Sideways back in 2004. He’s not playing himself, really – he’s playing a character here loosely based on himself – or at least looking a lot like himself – but maybe more of what he perceives others perceive him as. I know that sounds confusing but don’t think about it too much and you’ll get used to him being addressed with his real name onscreen.

Strathairn is also one of the best character actors of his generation, one who projects competence and character in every role. While his part is essentially comedic, he lends a bit of – not gravitas precisely, but legitimacy in any case. As always, even in a part that might not necessarily demand it, he gives a smart performance.

Watson, who I’ve barely mentioned in the description of the plot, manages to make the most of her brief appearance. She is understanding and devoted to the point of ferocity to her somewhat quirky husband. She comes off as a somewhat ideal wife and that in itself can make for a bland performance, but she is far from that here. As a critic, I appreciate that she took a role that lends itself to being taken for granted and makes it shine. I also liked Korzun’s performance as the sympathetic soul mule. It may have taken the souls of others for her to develop a conscience but Korzun makes Nina’s change from amoral employee to sympathetic assistant to Giamatti a fluid and organic one.

I have a thing about movies that make you think, and this one is one of those. Director Barthes, who also wrote the script, is offering up a debate about a subject not often tackled by the movies because of the religious implications. What is the soul? What makes it important? What does it look like? How can it be changed? What happens to us when it does?

Big questions deserve big answers and sadly, none are forthcoming here. The problem with the movie is that it is VERY cerebral but it really leaves the debate in the theater and not on the screen. Because it’s so very thought-provoking, it takes it’s time getting itself established and the whole Russian mobster sub-plot felt a bit misguided. Still, it’s a smart and at times very funny exploration of a subject that’s so rarely tackled in ANY medium that the filmmakers get a couple of points just for attempting it. I’m looking forward to more movies that provoke this kind of debate from Ms. Barthes.

WHY RENT THIS: A unique concept, well-executed. Fine performances from Giamatti, Strathairn and Watson.

WHY RENT SOMETHING ELSE: So overly cerebral that at times the movie drags.

FAMILY VALUES: There is a good deal of sexuality as well as some fairly mature concepts. The language can get a little rough too.

TRIVIAL PURSUIT: The entire movie was inspired by a dream that Woody Allen had in which he discover his soul resembles a garbanzo bean.

NOTABLE DVD EXTRAS: There’s a three-minute featurette on the design and construction of the soul extractor.

BOX OFFICE PERFORMANCE: $1.1M on an unreported production budget; I’m thinking this probably lost a few bucks.

FINAL RATING: 6.5/10

TOMORROW: In a Better World (Haevnen)