Casablanca: The problems of two little Americans are of monumental importance in this crazy world, or at least on the other side of the globe. But what could have been a barbed look at extreme narcissism, whether individual or national, is reduced to that mildest of metaphors, the road to recovery.
In that respect, Colossal, Vigalondo’s fourth feature (and the first of his that I’ve seen), isn’t too far removed from Jonathan Demme’s Rachel Getting Married (2008); both films center on a substance-abusing mess played by Anne Hathaway. In Demme’s movie, the manipulative protagonist excels at toxic femininity, insisting that the whole world revolves around her. That concept is made literal in Colossal, in which the drunken antics of Hathaway’s Gloria have calamitous effects on the citizens of Seoul, terrorized by a behemoth beast that, we soon learn, is the boozer’s avatar.
This monster mash-up argues the opposite of what Humphrey Bogart declared in