1星給特效，2星給腦洞，劇情暗示女主有酗酒的問(wèn)題，但是通篇沒(méi)有任何她酗酒的鏡頭，所以看起來(lái)反而是最正常的一個(gè)。前男友開(kāi)局趕人，能理解，一個(gè)正常生活的人無(wú)法容忍自己的另一半亂來(lái)。后面聽(tīng)到人家做服務(wù)員就要去把人家接回來(lái)是什么意思？二號(hào)男更是莫名其妙，一開(kāi)始的童年伙伴暖男形象，我都忘記是什么時(shí)候開(kāi)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(guó)人來(lái)威脅女主算個(gè)啥？強(qiáng)行點(diǎn)題？我覺(jué)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(shuō)原因，敢情這貨從小就是個(gè)有破壞欲的變態(tài)？

本片及腦洞即題材十分不錯(cuò)，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(lái)說(shuō)絕不倡導(dǎo)所謂的大男子主義，畢竟良好的戀愛(ài)關(guān)系需要彼此的舒適，而非強(qiáng)調(diào)控制和讓對(duì)方無(wú)限制妥協(xié)。本片打著科幻片的幌子，直接來(lái)一波愛(ài)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(méi)放下過(guò)關(guān)心，沒(méi)掛過(guò)一個(gè)電話 -不甘愿女主在酒吧做服務(wù)員，即上門(mén)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(kāi)老家，仍不停打探跟蹤女主消息 -各種噓寒問(wèn)暖，提供生活用品及工作幫助 -久別后第一次見(jiàn)面，直接帶去繼承的酒吧 -雖酒吧生意慘淡，但仍然覺(jué)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(méi)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(duì)于長(zhǎng)得好看女性，眼中只有交配的概念 -一夜情后，女主即使面對(duì)壓力也無(wú)動(dòng)于衷

那本片女主格洛莉婭是怎么面對(duì)他們的呢，控制 -對(duì)于蒂姆，就是踩底線，我不聽(tīng)，晾一邊，但是我好像還是愛(ài)你的 -對(duì)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(duì)你沒(méi)有半點(diǎn)意思 -對(duì)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(huì)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(duì)于韓美部署事件的暗諷。

你想聽(tīng)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(huì)以酒精、派對(duì)、酒店來(lái)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(jué)得還是學(xué)會(huì)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(guān)系失敗的一個(gè)例子，角色與角色的關(guān)系有很多失誤之處。

《克羅索巨獸》這部電影可以說(shuō)是拿到了一個(gè)好的創(chuàng)意卻遇到了一個(gè)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(gè)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(lái)看女主角歌洛麗亞的男友應(yīng)該是處于很重要地位，因?yàn)樗陂_(kāi)端高潮結(jié)局都有出鏡。但令人費(fèi)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(shí)地跳出來(lái)告訴觀眾“還有我這個(gè)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(méi)有太大關(guān)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(jiǎn)潔。歌洛麗亞和男友這條線只是主體的一個(gè)外部框架，其存在意義是為了給歌洛麗亞提供一個(gè)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(méi)有交代一切都結(jié)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(xiě)兩人，最后卻不提及，反而選擇了在韓國(guó)小吃店里結(jié)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(méi)有戲份，甚至連結(jié)尾小伙子得了個(gè)鏡頭，癮君子卻連一個(gè)鏡頭都沒(méi)有。且不說(shuō)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(cè)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(guò)床的人啊，在小伙子對(duì)歌洛麗亞的情感上，但他做了什么？什么也沒(méi)做。奧斯卡對(duì)歌洛麗亞惡意相向時(shí)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(wú)論是什么電影，既然確立了“小團(tuán)體”的存在，就必須要護(hù)住這個(gè)團(tuán)體，過(guò)度強(qiáng)調(diào)個(gè)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(qiáng)大！

怪獸在市中心同一位置每天同一時(shí)間像打卡考勤一樣來(lái)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(méi)事一樣？怪獸最后一次出現(xiàn)了，大家伙全都像初次見(jiàn)面一樣驚愕的盯著怪獸看來(lái)看去，就是沒(méi)人逃跑，直到怪獸開(kāi)始破壞了才恍然大悟:我們應(yīng)該逃跑??！拜托人家已經(jīng)在首爾破壞了一個(gè)多禮拜了你們還在納悶個(gè)啥？