A real monster, in fact.Ĭolossal gleefully hops genres, starting out as a quirky small-town romance, before taking a left turn into kaiju territory, then descending into a grim exploration of addiction, domestic violence and toxic masculinity. Credit is also due to Sudeikis for taking a likeable character in Oscar and, mid-way through, turning him into a despicable human being. Hathaway is fabulous as the troubled Gloria, struggling with alcoholism and lousy taste in men. And what is Oscar’s connection with the giant robot that appears in Seoul soon afterwards? Is it friendly or an even bigger threat to the city’s inhabitants? But Oscar has a manipulative petty side, which is revealed not long after the news breaks that a giant monster is appearing night after night in Seoul, smashing buildings and killing hundreds, before mysteriously vanishing.Ĭolossal gets even weirder as Gloria discovers she’s mysteriously linked to the kaiju and can control it. The easygoing bachelor offers her a waitressing job and they’re soon best buds, boozing into the wee hours at the bar with his mates.Īt this point, viewers might think Gloria and Oscar are going to get together because he seems like a chilled, fun guy unlike her uptight ex. She’s forced to return to her hometown in rural New Hampshire where she bumps into old school chum Oscar (Jason Sudeikis), who now runs his father’s bar.
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The movie begins with unemployed writer Gloria (Anne Hathaway) being thrown out of her New York apartment by workaholic boyfriend Tim (Dan Stevens), who’s fed up with her heavy drinking and non-stop partying. The chief monster in Colossal is a Godzilla-like kaiju crushing parts of the city underfoot, but it pales next to the terrifying human monster whose shocking arrival in the second half takes viewers into much darker territory.
They were released in 2016 and feature monsters tearing apart Seoul, South Korea.
On the surface, Colossal and Train To Busan – both available at SBS On Demand – have a few things in common.
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