本片及腦洞即題材十分不錯，闡述角度也從女主格洛莉婭極端女權(quán)主義出發(fā)，充分傳達(dá)了《終究還是一個(gè)人扛下了所有》的精神。當(dāng)然，本人來說絕不倡導(dǎo)所謂的大男子主義，畢竟良好的戀愛關(guān)系需要彼此的舒適，而非強(qiáng)調(diào)控制和讓對方無限制妥協(xié)。本片打著科幻片的幌子，直接來一波愛情片和公益宣傳。

片中的三位男性的人設(shè)較為符合“一團(tuán)糟”的格洛莉婭：

蒂姆：老是在妥協(xié)的小白領(lǐng)： -照顧失業(yè)女友，希望其變好不要沉迷酗酒 -分手后，沒放下過關(guān)心，沒掛過一個(gè)電話 -不甘愿女主在酒吧做服務(wù)員，即上門求和 -被放鴿子后仍在關(guān)心，希望得到一個(gè)解釋

奧斯卡：不停尋求自我優(yōu)越感的舔狗： -女主離開老家，仍不停打探跟蹤女主消息 -各種噓寒問暖，提供生活用品及工作幫助 -久別后第一次見面，直接帶去繼承的酒吧 -雖酒吧生意慘淡，但仍然覺得自己是老板 -小團(tuán)體中的領(lǐng)袖，結(jié)交比自己更差的朋友 -付出沒有回報(bào)后，立即展現(xiàn)變態(tài)的控制欲

喬爾：腦子還在發(fā)育的荷爾蒙： -對于長得好看女性，眼中只有交配的概念 -一夜情后，女主即使面對壓力也無動于衷

那本片女主格洛莉婭是怎么面對他們的呢，控制 -對于蒂姆，就是踩底線，我不聽，晾一邊，但是我好像還是愛你的 -對于奧斯卡，由于當(dāng)下環(huán)境原因，就滿足你舔狗心里，但老娘對你沒有半點(diǎn)意思 -對于喬爾，睡睡就可以了，其他別多想

怪獸即自我，處于酗酒和日夜顛倒的生活，會使人成為怪獸，有趣的是這樣的情況往往自我并不知道，片中的新聞報(bào)道猶如酒醒后回看自己喝大時(shí)的視頻，一樣令自己難以置信。另外怪獸出現(xiàn)選擇首爾，可能是當(dāng)時(shí)對于韓美部署事件的暗諷。

你想聽個(gè)驚奇的故事嗎？ 當(dāng)然想，那你想喝點(diǎn)什么？ Emmm...

當(dāng)下年輕人理解的夜生活，或許會以酒精、派對、酒店來涵蓋， 確實(shí)有吸引，但還是凡事有度，避免一團(tuán)糟，成為那個(gè)令自己都難以置信的怪獸。 個(gè)人覺得還是學(xué)會控制自我的欲望，自律及自由。

emm……一頭霧水。

被微博上的小視頻吸引專門找來看的，然而整個(gè)影片讓人有些摸不著頭腦，難道是表達(dá)的太隱晦了么。

人物的行為奇奇怪怪，就算按照醉酒來解釋也有些邏輯不通。虧得一開始覺得高深莫測，以為怪物是主角心中負(fù)面情緒之類的一種具象化（韓國人做錯了啥-_-||），然而最后也沒有明確或是模糊的解釋。

整個(gè)故事呈現(xiàn)的磕磕絆絆，是為了反映男主黯然失色掙扎無望的人生？還是襯托女主雖然渾渾噩噩酗酒瞎搞但最后拯救蒼生的光輝？理解不能。

唯一的體會大概是好孩紙不能酗酒吧?

1星給特效，2星給腦洞，劇情暗示女主有酗酒的問題，但是通篇沒有任何她酗酒的鏡頭，所以看起來反而是最正常的一個(gè)。前男友開局趕人，能理解，一個(gè)正常生活的人無法容忍自己的另一半亂來。后面聽到人家做服務(wù)員就要去把人家接回來是什么意思？二號男更是莫名其妙，一開始的童年伙伴暖男形象，我都忘記是什么時(shí)候開始黑化的了，好像是女主跟他朋友睡了之后吧？但是你用韓國人來威脅女主算個(gè)啥？強(qiáng)行點(diǎn)題？我覺得你就是下個(gè)藥強(qiáng)個(gè)奸都比這靠譜吧？最后女主回憶起童年的時(shí)候男二其實(shí)已經(jīng)是黑的，踩爛了她的模型又不說原因，敢情這貨從小就是個(gè)有破壞欲的變態(tài)？

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)