Anne Hathaway

Colossal

22/05/17

To say that Nacho Vigalondo’s Colossal is unusual would be something of an understatement; as an indie slacker-flick about a kooky American woman and, um, a rampaging monster in South Korea, it is a genre-defying delight, and certainly the most original film I’ve seen in a long while.

Anne Hathaway stars as kooky woman, Gloria, whose life is spiralling out of control. She’s lost her job and she’s drinking too much, and her boyfriend, Tim (Dan Stevens), is getting sick of her. Hathaway aces the role; she’s convincingly shambolic without being a complete wastrel. It’s easy to relate to Gloria.

When self-righteous Tim decides – self-righteously – that enough is enough, he kicks Gloria out of their New York apartment, and she returns to her childhood home. The house is empty, pending rental: her parents have moved away. And so she is alone, taking stock, and revisiting her past.

When she bumps into her old friend, Oscar (Jason Sudeikis), things start to look up. He offers her a job in his bar, and they hang out together after hours, drinking and catching up. Okay, so it’s a drifting, going-nowhere lifestyle choice, but it’s not so bad. They like each other. They’re having fun.

But Gloria’s chilled-out demeanour masks a growing anger deep inside. Old memories are resurfacing, and the booze can only blot them out for so long. When she sees news footage of a strange monster attacking Seoul, she’s appalled. And even more so when she realises that the monster is a part of her, unleashed upon the unwitting citizens of a city far away. She has to learn to control – rather than suppress – her rage, if she wants to stop its destructive manifestation.

I know, it sounds bonkers. And it is. It’s also bleakly funny and startlingly profound. Sudeikis’s performance as Oscar is beautifully nuanced, his sly abusive disposition gradually revealed. He’s the real monster: an angry, bitter robot of a man, used to controlling those around him. Gloria can only beat him by cutting him down to size – and there’s only one way she can do that. The monster is her twin, her Hyde, her Frankenstein. She has to own it, subvert it to her will.

Oh, look, I could go on for ages here. I found this whole film fascinating. A real gem. Go on, watch it.

4.3 stars

Susan Singfield

Advertisements

Interstellar

MV5BMjIxNTU4MzY4MF5BMl5BanBnXkFtZTgwMzM4ODI3MjE@._V1_SX214_AL_

9/11/14

Some films arrive in the cinema burdened by the weight of unreasonable expectation and Interstellar is one such film. Probably the most anticipated release since Prometheus (and look what happened with that!), if we are to believe what we’re told, this film is destined to save the film industry itself because what the world needs now is a major blockbuster and this just might be it. The film takes on weighty themes like the demise of mankind, the exploration of space and some fairly ‘out there’ theories about black holes and the fifth dimension. If much of it feels like a homage to Kubrick’s 2001, that’s no bad thing. The good news is, that though not perfect, Christopher Nolan’s three hour epic manages to hold a viewer’s attention throughout and in two key set pieces racks up levels of almost unbearable suspense.

The world is going to hell in a handcart, mostly because it’s turning into one great big dustbowl. Crops are dying out and ex space explorer Cooper, (Matthew McConaughey) now a corn farmer, sees his livelihood slipping away. When his young daughter Murphy tells him that the bookcase in her bedroom is trying to communicate with her (stay with me) Cooper identifies an anomaly, one that leads him to a remote location, where NASA scientist, Professor Brand (Michael Caine) is preparing a secret space mission, which he hopes will find a way to save the world. He’s prepared to send his own daughter, (Anne Hathaway) as a member of the team and he wants Cooper to pilot the spaceship. But it will mean being parted from his children for many years, with no guarantee of survival…

It’s to the film’s credit, that it makes some fairly unlikely events seem believable, but much of the ‘science’ here is so mind-blowingly complicated, that characters often have to resort to sketching diagrams to ensure that the audience understands it better – and there’s a final M. Night Shymalan-style twist that will either have you starry-eyed with wonder or shouting ‘no way!’ at the screen. Whether Interstellar can save the film industry is debatable. What is for sure is that Nolan hasn’t lost his Midas touch when it comes to creating awe-inspiring cinema. The father-daughter relationship at the heart of this tale is a powerful hook and the cinematography and special effects sequences are often breath-taking. A palpable hit, methinks.

4.8 stars

Philip Caveney