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人与巨兽的联系是非常棒的创意,可惜主角设定上的瑕疵,即使她最后拯救了世界,也难以与她共情。
故事讲述颓废又酗酒的失业青年Gloria被男友赶出家后回到家乡小镇。
一次偶遇年少好友Oscar,迷茫的生活似乎有了转变,她来到Oscar的酒吧兼职服务员,Oscar也热情地为Gloria空荡荡的房子增添家具示好,但Gloria似乎读不懂Oscar的好意,与Oscar的好友眉目传情甚至发生one night stand。
期间,世界发生一件大事:远在大洋彼岸的韩国被突如其来的巨兽肆虐,全国高度警惕巨兽的再次到来。
Gloria渐渐发现自己与巨兽的联系:她就是巨兽,巨兽就是她,只要Gloria出现在小镇的公园空地,巨兽就会出现在韩国,并且二者动作一致。
这一诡异的发现让Gloria心生歉意,原来她在无意中使那么多人丧生。
但巨兽不止Gloria,Oscar也控制着一头巨型机器人。
索爱不成的Oscar恼羞成怒,以成千上万的性命控制着她。
不堪忍受的Gloria利用对称原理,来到韩国,控制着出现在小镇的巨兽,将失去理智的Oscar抛向远方,故事到此结束。
影片于2015年拍摄,2017年上映,就创意来说,在我目前的观影量里绝无仅有,可惜在主角Gloria的人物设定上,个人目标,特别是道德品行上的设计莫名其妙。
Gloria没有对电影中任何一个男角色产生情感。开场同居的纽约男友忍受不了Gloria的谎言和颓废,要求结束关系并希望对方好好找工作好好照顾自己,而回到家乡的Gloria后来确实这么做了,但又很难理解她与另外的角色发生关系是为何。
而Gloria对Oscar的示好却又全盘接受,从未对Oscar明确二人关系,观感上就像吊着一个对自己献殷勤的男人一样,实在令人费解。
写完这一通后忽然觉得Oscar有点可怜…
以上。
本片及脑洞即题材十分不错,阐述角度也从女主格洛莉娅极端女权主义出发,充分传达了《终究还是一个人扛下了所有》的精神。当然,本人来说绝不倡导所谓的大男子主义,毕竟良好的恋爱关系需要彼此的舒适,而非强调控制和让对方无限制妥协。本片打着科幻片的幌子,直接来一波爱情片和公益宣传。
片中的三位男性的人设较为符合“一团糟”的格洛莉娅:
蒂姆:老是在妥协的小白领: -照顾失业女友,希望其变好不要沉迷酗酒 -分手后,没放下过关心,没挂过一个电话 -不甘愿女主在酒吧做服务员,即上门求和 -被放鸽子后仍在关心,希望得到一个解释
奥斯卡:不停寻求自我优越感的舔狗: -女主离开老家,仍不停打探跟踪女主消息 -各种嘘寒问暖,提供生活用品及工作帮助 -久别后第一次见面,直接带去继承的酒吧 -虽酒吧生意惨淡,但仍然觉得自己是老板 -小团体中的领袖,结交比自己更差的朋友 -付出没有回报后,立即展现变态的控制欲
乔尔:脑子还在发育的荷尔蒙: -对于长得好看女性,眼中只有交配的概念 -一夜情后,女主即使面对压力也无动于衷
那本片女主格洛莉娅是怎么面对他们的呢,控制 -对于蒂姆,就是踩底线,我不听,晾一边,但是我好像还是爱你的 -对于奥斯卡,由于当下环境原因,就满足你舔狗心里,但老娘对你没有半点意思 -对于乔尔,睡睡就可以了,其他别多想
怪兽即自我,处于酗酒和日夜颠倒的生活,会使人成为怪兽,有趣的是这样的情况往往自我并不知道,片中的新闻报道犹如酒醒后回看自己喝大时的视频,一样令自己难以置信。另外怪兽出现选择首尔,可能是当时对于韩美部署事件的暗讽。
你想听个惊奇的故事吗? 当然想,那你想喝点什么? Emmm...
当下年轻人理解的夜生活,或许会以酒精、派对、酒店来涵盖, 确实有吸引,但还是凡事有度,避免一团糟,成为那个令自己都难以置信的怪兽。 个人觉得还是学会控制自我的欲望,自律及自由。
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)
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为啥首尔不疏散……
一部很尴尬的电影,你把它当成SNL式的恶搞吧,它又太正经;你正经的把它当剧情片吧,它又毫无逻辑,完全不通;你把它当科幻吧,它纯粹是恶搞;你把它当喜剧吧,它又人设苍白,人物行为讲不通,更不好笑;你说它影射核问题和政治局势,那纯粹是绞尽脑汁的想找个夸它的理由。开脑洞之前先想好逻辑吧。
不是怪兽片,不是爱情片,不是治愈片,至于是什么类型,我也不知道啊。一会儿打,一会儿哭,一会儿温情,一会儿丧,一锅大乱炖,并不知道看了什么。 @2017-05-03 20:20:40
word妈呀这应该是我今年看过最反套路的电影了吧。以为是怪兽片以为是爱情片以为是鸡汤片,结果是个女主手撕男主的恶搞片!内心阴暗的人直接狗带吧!表白我安妮·海瑟薇,哪怕演一个酗酒的撸瑟,智慧和美貌也双双在线呀~~~
这是什么神节奏。看到觉得浑身难受的标准节奏。
这种设定反而有种教育意味,长大了也还是伤不起的孩子。构思很有意思,但是三流的的表演,四流的制作。
哈哈哈哈一本正经胡说八道,全程黑人问号脸,但毕竟怪兽片套路化严重,拍成这样还挺有趣的。
槽点太多到底想表达什么?告诫韩国老实点儿你们的小命都在宗主国美国手上?告诫不要喝酒,一喝就断片儿天生脑子有毛病的更不要喝?还是让我们小心身边的变态朋友一朝变态一辈子变态?丹丹龙前男友角色起的作用就是为了凸显女主的不上心,韩国人民心也是大,每天定点袭击都阻止不了他们在事发地聚群。
找大表哥英味原声出演这样一个傲慢中产男友还蛮好笑的 这样黑英国人吗哈哈哈 脑洞够了但爽劲没跟上 怎么感觉安妮海瑟薇发福了
脑洞实在太大,果然是拍过《26种死法》的导演才干得出来的事。为了迎合这个天窗般的脑洞,电影里某些人物都被塑造的非常诡异,性格的骤变让人无语。不过这样无法用类型片来定义的片子,也许才能被称得上电影中的“先锋”吧。
这个怪兽很大吗?我看还没有导演的脑洞大。
還挺有意思的...............男的反轉得有點雷,大表哥怎麼就炮灰了呢
其实就是一部独立电影而已,接着脑洞说那些现代人的心理困境以及女性意识的觉醒,有很多莫名其妙的地方但是倒不至于让人讨厌,不过比较可惜的是喜剧感几乎没有。
天哪我简直不敢相信这是我大安妮和大表哥一起拍的电影,各种傻逼情节让人分分钟想弃片。无头无脑根本不知道想表达什么。内心的愤怒化成怪兽互相掐架?傻逼朋友一会儿好人一会儿大恶人?无力吐槽
重新回乡,面临的是巨大的挑战,见到不想见的人,回忆起不堪的过去。当然,编剧把儿时的创伤衍生为巨兽去伤害别人这点我真的不是很能搞懂中间的逻辑,但是起码故事按照设定也算讲通了。本片大家演技都还在线,没有可以特别指摘的地方。平平淡淡一出戏。不怎么推荐。
披着怪兽科幻片外衣的小清新女权主义电影,有点小悬疑有点小惊悚。中段让人想起危狱惊情开头,结尾如果改成怪兽一脚踩下去两人形神俱灭同归于尽不就更意味深长?!
新奇创意背后支撑这部令人眼前一亮的反类型作品的是精巧工整的剧作,主角与反派两个角色遵循着巧妙的对应与对立,不论是致命缺陷的对应、过去与当下的对应,还是内心转变与抉择的对立都是工整精巧的,就连地点也要对应。剧作层面上的叙事是女主克服致命缺陷与童年创伤历程的解构与有想象力的具象化。
Mocap
年度最大脑洞片候选,估计斯坦·李和他笔下的漫威宇宙也写不出拥有这种超能力的英雄吧
最后很燃,过程比较闷。海瑟薇一把把男主抓起来扔到远远的,嗯,这一定是个日韩风格漫改作品,浓浓的二次元味。以男女主互相心理缺点化作怪兽为喻,梗却是老美打个喷涕韩国就抖三抖,弱国你们要雄起揍它啊这样。