Cheap Monster Project (2017) Movie
Colossal, a film about monsters... Synopsis. Gloria (Anne Hathaway), a girl with disastrous and obvious problems with the drink, is forced to return from New York city to his small hometown after her boyfriend, tired of drunkenness and hangovers, the take home. One day, the events take a turn insane and unexpected. In the news they talk about a giant monster that has fun destroying buildings in Korea... Glory discovers that, somehow, you do not understand, is connected to the creature. Opinion. Colossal is original, fresh, innovative, and deep. The synopsis is crazy bigger than the monster of the movie, I already know. This hybrid between Young Adult, being John Malkovich and Godzilla will not be well digested by the viewers who are looking for a product standard, and topic, but in the end, what will they Like more or less, Colossal is original, fresh, innovative, and profound, and just for that, its director, the Spanish Nacho Vigalondo, deserves our thanks. In these times, where there are plenty of ideas manidas and almost all of the film for mass consumption devoid of soul and the urge to innovate (note: I do not say that do not have good ideas; I say that is there but not used because of fear of failure at the box office), I can applaud this type of proposals that develop and bring their ideas to the base up to the last consequences by very extravagant they may be. Synopsis, trailer, and criticism of the movie, A monster comes to see me. Film Drama from director Juan Antonio Bayona. Follow the news and information of. Dedicate it to all the people who have supported us in a project. Goya 2017 to the Best film. A monster. EP Madrid Telecinco strip the house by the window, with the premier of the latest film of Juan Antonio Bayona's A Monster comes to see me, that meeting. CINEMA Mexico Digital presents the film mexican animation The legend of la llorona this Wednesday 19 July 2017. The project. We are familiar with the filmography of Nacho Vigalondo, we know that it is not for all audiences. Their work more accessible (in some form) is The Cronocrímenes, a great thriller of time travel where the main attraction lies in the check of the software that can make traveling less of a time in the past. He then directed the controversial Extraterrestrial, a romantic comedy situated in the context of an alien invasion. Why was failed Because the public did not like that the alien invasion was the least of it in the story. There is a UFO Yes, but far away, in the background, between buildings. Then came the Open Windows, a thriller that is technological rather conventional if it was not because the entire story is told from the screen of a computer connected to the Internet. Need more directors, authors, institution and its own voice. In the end, I love the film Vigalondo, because I find it interesting, it seems to me brave and it seems to me that you need more managers as well, authors with entity and own voice, instead of so many mercenaries sold to the money, but I understand that the majority public do not connect with this film so unusual and special. Colossal is his film more resultona on a visual level (without take the hand of the excess seen in the Open Windows, I want to say), their best work since The Cronocrímenes and, since then, his film best directed. Vigalondo has always had good hand-to-time to make the camera talk, but at Colossal has been surpassed in that sense. But we have to talk about that monster that is destroying Seoul, is it Worth, the theme has a lot of crumb. Please, no one wait for an action movie in the line of Pacific Rim although Colossal has robots fighting monsters. Nobody wait for a show void of special effects with which to pass two pleasant hours of entertainment without any complexes. It is a colossal metaphor of gender-based violence. Colossal, in addition to being a comedy in its first half and the drama quite dark in the second, it is, above all, a colossal (sorry, I had to egg) metaphor of gender-based violence and coercion through physical or psychological violence. Could delve more deeply into the topic because, to tell you the truth, everything is perfectly set up, but I don't want to get into spoilers (although I know I'll end up falling in them). Let's say, to sum up, Glory understands the damage caused by the monster (monster that materializes it), and, as the person empathically that is, she decides to put an end to the disasters that their addiction is causing. Pero Oscar (huge Jason Sudeikis), the guy sympathetic, which finally turns out to be a violent and jealous abuser, uses his power of destruction (the robot that he generates) to manipulate to Glory in the worst possible way, taking advantage of her empathy. It may be that the victims are far away, thousands of miles away, but that doesn't change the fact that they are human beings with feelings, family, and all those little things. Terminator 2 3D (2017) Streaming. Gloria cares, but Oscar won't... Colossal. Although I have to warn you one thing that, in my judgment, is important. Please, no one go expecting to find a “scientific” response to the presence of the monster and the robot. It may be that in this section the film fails for many, and the director has been marked a glob of those who make history... The gigantic creatures are there because the script requires it, and that's it. When Glory enters in the park of his people at eight in the morning, a monster appears in Seoul. Why Because yes. Which nobody expects to find a “scientific” response to the presence of the monster and the robot. To Vigalondo's not interested in getting to explain anything, in the same way that Charlie Kaufman did not explain the reasons for the blissful door was the mind of John Malkovich. It could be said that it is the incursion of magical realism in a tragicomedy about the abuse. In short, this story could have been told in a thousand different ways, and all of them would have required less effort at the time of addressing the issue, and fit the plot of monstrous male violence, but the directorguionista has opted, as always, for choosing the road more strange and convoluted, and that's why your film stands above the average. I insist in what I said at the beginning: you may like it more, less, or nothing, but the merit and the courage are unquestionable.