15 April 2017


The less you know about Colossal going into it, the better. Which is to say that if you haven't seen it, you should maybe stop reading now and come back when you have, though what I have to say about it doesn't contain any actual spoilers. It's just that it's a creative and unexpected movie that continuously keeps you guessing, and the surprise element is one of its great pleasures (as many people have noted, Anne Hathaway's performance is another one). I don't intend to review the movie overall so much as to get out a few of the things I've been muddling over since seeing it (and try, again, to be better about keeping this blog).

One of the things that I really appreciated about the movie is that it represents both the pleasures and the pitfalls of heavy drinking with genuine nuance. Unlike Trainwreck, which admits that staying up late and getting drunk can be awfully fun but ultimately insists that the heroine get rid of all the booze in her possession in order to be redeemed*, Colossal acknowledges the damage alcohol can wreak, and the need for limits, while also criticizing the tendency to moralize those limits (and highlighting the gendered ways that such moralizing tends to play out). It doesn't offer a simple solution - the movie's final scene is brilliantly ambiguous in this regard - and I love it for that. 

Overall, this is a really satisfying female-empowerment story. It treads a very fine line between showing you some of the ways in which sexism structures the main character's experiences without letting it dictate the narrative arc, or effectively disempower her altogether. Sometimes, arguably, this means bending away from realism. But it's so welcome and so satisfying to see a woman winning in a way that doesn't feel blatantly idealistic and contrived. This means that sometimes she doesn't win. This also means that sometimes what it means to win turns out to be something other than you (have been taught by Hollywood to) expect. That's how life works. It's refreshing to see a film that gets that.

I have more ambivalent feelings about the way that South Korea figures in to the movie as an uneasy combination of symbol and real place. It literally becomes an arena for (white) Americans to work out their issues, and sustains massive damage in the process. An elegant metaphor for actual political/economic/affective processes, but is the film critiquing them or repeating them? A bit of both? I do think that the movie insists upon South Korea's tangible reality as an actual place with actual people, and not just a tragedy that you see on tv, in important ways. I think that the monster movie aspect is loving homage and thoughtful hybrid rather than cultural appropriation. But I also want to hear what other smart people think about it (especially people of color), and I don't think it's my place to make a firm pronouncement on the matter. To my surprise, a brief google search turned up nothing (well, for some reason, it did turn up a lot of articles about the Gilmore Girls, which I haven't seen but I gather has some very problematic representations of Asians). I will probably be considered a killjoy for even raising the question when the movie is doing such awesome things re: gender, but them's the breaks. 

In the meantime though, you should totally go see the movie. It's not perfect or even mind-blowingly amazing (there's a whole other conversation to be had about how weirdly passive the minor characters are - like, I get that they're minor, but they are so blatantly without agency that it kind of boggles the mind), but, like Bad Moms, which I unfortunately didn't write about here, it's one of those rare movies that seems to be imagining someone like me as the audience while still being relatively mainstream. So go give it some money.

* There were a lot of things that I liked about that movie, but it turns out that that's what stuck with me, and apparently I can't forgive it.

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