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。前男友開局趕人，能理解，一個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啥？強行點題？我覺得你就是下個藥強個奸都比這靠譜吧？最后女主回憶起童年的時候男二其實已經(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有破壞欲的變態(tài)？

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主義出發(fā)，充分傳達了《終究還是一個人扛下了所有》的精神。當然，本人來說絕不倡導所謂的大男子主義，畢竟良好的戀愛關系需要彼此的舒適，而非強調(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較為符合“一團糟”的格洛莉婭：

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

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 -小團體中的領袖，結交比自己更差的朋友 -付出沒有回報后，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，由于當下環(huán)境原因，就滿足你舔狗心里，但老娘對你沒有半點意思 -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，片中的新聞報道猶如酒醒后回看自己喝大時的視頻，一樣令自己難以置信。另外怪獸出現(xiàn)選擇首爾，可能是當時對于韓美部署事件的暗諷。

你想聽個驚奇的故事嗎？ 當然想，那你想喝點什么？ Emmm...

當下年輕人理解的夜生活，或許會以酒精、派對、酒店來涵蓋， 確實有吸引，但還是凡事有度，避免一團糟，成為那個令自己都難以置信的怪獸。 個人覺得還是學會控制自我的欲望，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)

《克羅索巨獸》可算是電影中人物關系失敗的一個例子，角色與角色的關系有很多失誤之處。

《克羅索巨獸》這部電影可以說是拿到了一個好的創(chuàng)意卻遇到了一個壞的劇本。

電影里那四人幫里除了歌洛麗亞和奧斯卡以外那兩個人名字忘了，暫且稱為稱為小伙子和癮君子。

失誤一 多余的角色

按照劇情來看女主角歌洛麗亞的男友應該是處于很重要地位，因為他在開端高潮結局都有出鏡。但令人費解的是歌洛麗亞的男友始終處于一種跑龍?zhí)椎臓顟B(tài)，不時地跳出來告訴觀眾“還有我這個人哦”。

歌洛麗亞和男友的故事線與巨獸的故事主體（歌洛麗亞與奧斯卡的故事線）根本沒有太大關聯(lián)，將歌洛麗亞男友這段除去，主體完全能夠存在，甚至更簡潔。歌洛麗亞和男友這條線只是主體的一個外部框架，其存在意義是為了給歌洛麗亞提供一個逃離奧斯卡的選擇。

歌洛麗亞和男友的情節(jié)是不完整的，編劇完全沒有交代一切都結束之后歌洛麗亞回到男友身邊的事，花了那么多心思去描寫兩人，最后卻不提及，反而選擇了在韓國小吃店里結束全片。

失誤二 忽略癮君子

自從癮君子和奧斯卡鬧掰了之后癮君子就再也沒有戲份，甚至連結尾小伙子得了個鏡頭，癮君子卻連一個鏡頭都沒有。且不說作為四人幫成他和小伙子的作用太低，癮君子好歹也是一起去公園測試巨獸的重要角色，是能這樣用完就扔的嗎？

失誤三 弱化小伙子作用

小伙子可是和歌洛麗亞上過床的人啊，在小伙子對歌洛麗亞的情感上，但他做了什么？什么也沒做。奧斯卡對歌洛麗亞惡意相向時他在做什么？只是傻傻地看著，傻傻地跟著奧斯卡又不敢反駁他。作為共享巨獸秘密的成員之一，小伙子的作用本可以有更重要的意義，但卻完完全全被弱化了。

無論是什么電影，既然確立了“小團體”的存在，就必須要護住這個團體，過度強調(diào)個別角色的存在只能顧此失彼，使其他角色失去其存在的色彩。

我安妮笑得好漂亮！笑出強大！

怪獸在市中心同一位置每天同一時間像打卡考勤一樣來破壞，棒子市民為啥仍然還是不離不棄，在廢墟里班照上舞照跳吃嘛嘛香跟沒事一樣？怪獸最后一次出現(xiàn)了，大家伙全都像初次見面一樣驚愕的盯著怪獸看來看去，就是沒人逃跑，直到怪獸開始破壞了才恍然大悟:我們應該逃跑??！拜托人家已經(jīng)在首爾破壞了一個多禮拜了你們還在納悶個啥？