Colossal

A black comedic sci-fi feminist allegory (yes, that is the best way to describe this genre-defying film) that was not only original in its story but also boast a winsome turn from Anne Hathaway that has been sorely lacking in her recent (Oscar-baiting) oeuvre. And no this is not just a monster-film. "Colossal" was refreshingly original and thoroughly enjoyable with its humorous black streak and feminist leanings. 

The originality of the story laid not only its premise but also in its execution. Writer/Director Nacho Vigalondo kept turning left when you expect it to turn right and not once or twice but almost constantly through its 104 minutes; that is so rare these days. But of course there were also moments where the pacing slowed too much and strange interludes which seemed at odds thematically. 

The final climatic scene was exquisitely executed and the catharsis well-deserved. However, it was the ending of that moment that was disturbing but yet seemed so apt. Taking the film as an allegory made it relatively acceptable but the real life consequence continues to nag. And that really is the power of film. 

Hathaway - obviously and rather distractingly pregnant here - regained some of her charms from back in the days. After her recent more dramatic turns, she goes back to her comedic roots and reminds us that we really should not her internet-hate her that much. And she does show us some of the range that we know she is capable of.

Jason Sudeikis was a competent co-star against Hathaway, especially in the first two acts. But by the third act, he was more obviously outclassed by her and with the recently ubiquitous Dan Stevens in the cast, viewers familiar with Stevens' breakout hit "Legion" would feel that he would have been better cast in Sudeikis' role.