Eppler: "Colossal" is welcome weirdness

Eppler: "Colossal" is welcome weirdness

Between "Colossal" and "Get Out," we've seen some inventive twists on genre pictures. Whereas "Get Out" used the "Invasion of the Body Snatchers" motif to explore modern racism, "Colossal" uses Kaiju monster movie elements as a metaphor for alcoholism. 

Yes, really.

Anne Hathaway is a drunk whose boyfriend finally has enough and kicks her out of the apartment, so she goes back home where an old friend, Jason Sudeikis, is willing to help. At the same time, a monster is terrorizing the capital city of South Korea, and Hathaway soon realizes, she has a connection with it: it appears to mimic her movements.

The intriguing, character-driven screenplay by director Nacho Vigalondo takes the time to develop motivations and relationships so the payoff can pack a real punch in the end. 

This is also one of Hathaway's best performances, but the real discovery here may be Sudeikis - the "Saturday Night Live" alumnus who's able to break out of his comedy comfort zone and deliver a very surprising piece of acting. 

The special effects admittedly look cheap, which is part of the indie-vibe charm. There are pieces of the narrative that take shortcuts and the point the movie wants to make is hammered home a bit hard, but "Colossal" is still admirable entertainment - welcome weirdness in a sea of safe stuff.

Now playing only at Alamo Drafthouse. Get tickets here

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