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说逻辑不通的,你们可以用一种看谁都是直男癌的极端女权主义者的视角来看这电影。
前男友管我不让我喝酒不让我鬼混还赶我走就是他的错,小学同学跟踪我几年,但是你想我在这无聊的地方陪着你,做梦吧,什么,还威胁我?去死吧!哦,小帅哥,你笑啥,你就是个自慰棒而已
开头前男友觉得我鬼混我喝酒是我没自制力赶我走,到乡下又发现我一小学同学竟然跟踪几年,但是他没对我做什么大事就算了,于是我寂寞难耐没人陪我过夜,找了小学同学的朋友,对,就是那个他所有朋友里面最帅的了,过了一夜发现我小学同学在做一些之前我做过的危险事情,等等,我之前有做过危险事情吗?好像杀了几百人吧,啊,我不记得了。小学同学看到我显得很生气,生什么气,睡一下你朋友怎么了?接着我前男友竟然来找我了,我好高兴啊,但是他竟然说我是个废物,以前拿他的钱,现在拿酒吧客人的钱,老娘就不乐意了,但是我万万没想到竟然在酒吧看到了前男友和小学同学的撕逼大戏,霸道酒吧老板这句:我就算是个疯子她也不会跟你走。真是撩到我了,晃晃悠悠回家,进屋突然看到一人在沙发上,哎呦,吓死我了,怎么是你啊,霸道酒吧老板同志你好,哎呀妈呀,刚才吓到头疼,好像想起来了什么!对!小时候你踩坏了我的玩具城市,你现在又想用踩坏城市来威胁我?你就是个垃圾,自卑的垃圾!我要给我男朋友打电话说跟他回家,怎么你还要打我?看我宇宙无敌大板凳,再来一个大橱柜,有种别跑啊!我追,额等等,应该是我要跑才对,跑啊跑,还是被追上了,被揍了,哎没地形杀我打不过他啊,对了,我可以去韩国变成怪兽不就到美国了。到了韩国下了飞机,到了地点,我要给我男友电话了,看到没,我虽然放了你鸽子但是这次我给你电话了,不像以前有时候都忘了你这个人了,解释太麻烦了干了再说,我一把抓住小学同学(酒吧都被烧了哪来的老板了),你看着我,看你还感威胁我?走你!哈哈哈,我是大英雄了,哈哈哈哈,什么?机器人没杀人?我杀了几百个了?你说的都是什么啊,我虽然之前杀人很多,但是我不知道啊,你看那个机器人虽然没杀人,万一他要是杀了呢,早就告诉你了,我抽烟喝酒乱上床杀人如麻,但我是个好女孩
《克罗索巨兽》可算是电影中人物关系失败的一个例子,角色与角色的关系有很多失误之处。
《克罗索巨兽》这部电影可以说是拿到了一个好的创意却遇到了一个坏的剧本。
电影里那四人帮里除了歌洛丽亚和奥斯卡以外那两个人名字忘了,暂且称为称为小伙子和瘾君子。
失误一 多余的角色
按照剧情来看女主角歌洛丽亚的男友应该是处于很重要地位,因为他在开端高潮结局都有出镜。但令人费解的是歌洛丽亚的男友始终处于一种跑龙套的状态,不时地跳出来告诉观众“还有我这个人哦”。
歌洛丽亚和男友的故事线与巨兽的故事主体(歌洛丽亚与奥斯卡的故事线)根本没有太大关联,将歌洛丽亚男友这段除去,主体完全能够存在,甚至更简洁。歌洛丽亚和男友这条线只是主体的一个外部框架,其存在意义是为了给歌洛丽亚提供一个逃离奥斯卡的选择。
歌洛丽亚和男友的情节是不完整的,编剧完全没有交代一切都结束之后歌洛丽亚回到男友身边的事,花了那么多心思去描写两人,最后却不提及,反而选择了在韩国小吃店里结束全片。
失误二 忽略瘾君子
自从瘾君子和奥斯卡闹掰了之后瘾君子就再也没有戏份,甚至连结尾小伙子得了个镜头,瘾君子却连一个镜头都没有。且不说作为四人帮成他和小伙子的作用太低,瘾君子好歹也是一起去公园测试巨兽的重要角色,是能这样用完就扔的吗?
失误三 弱化小伙子作用
小伙子可是和歌洛丽亚上过床的人啊,在小伙子对歌洛丽亚的情感上,但他做了什么?什么也没做。奥斯卡对歌洛丽亚恶意相向时他在做什么?只是傻傻地看着,傻傻地跟着奥斯卡又不敢反驳他。作为共享巨兽秘密的成员之一,小伙子的作用本可以有更重要的意义,但却完完全全被弱化了。
无论是什么电影,既然确立了“小团体”的存在,就必须要护住这个团体,过度强调个别角色的存在只能顾此失彼,使其他角色失去其存在的色彩。
我安妮笑得好漂亮!笑出强大!
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)
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槽点太多到底想表达什么?告诫韩国老实点儿你们的小命都在宗主国美国手上?告诫不要喝酒,一喝就断片儿天生脑子有毛病的更不要喝?还是让我们小心身边的变态朋友一朝变态一辈子变态?丹丹龙前男友角色起的作用就是为了凸显女主的不上心,韩国人民心也是大,每天定点袭击都阻止不了他们在事发地聚群。
一部很尴尬的电影,你把它当成SNL式的恶搞吧,它又太正经;你正经的把它当剧情片吧,它又毫无逻辑,完全不通;你把它当科幻吧,它纯粹是恶搞;你把它当喜剧吧,它又人设苍白,人物行为讲不通,更不好笑;你说它影射核问题和政治局势,那纯粹是绞尽脑汁的想找个夸它的理由。开脑洞之前先想好逻辑吧。
最后很燃,过程比较闷。海瑟薇一把把男主抓起来扔到远远的,嗯,这一定是个日韩风格漫改作品,浓浓的二次元味。以男女主互相心理缺点化作怪兽为喻,梗却是老美打个喷涕韩国就抖三抖,弱国你们要雄起揍它啊这样。
重新回乡,面临的是巨大的挑战,见到不想见的人,回忆起不堪的过去。当然,编剧把儿时的创伤衍生为巨兽去伤害别人这点我真的不是很能搞懂中间的逻辑,但是起码故事按照设定也算讲通了。本片大家演技都还在线,没有可以特别指摘的地方。平平淡淡一出戏。不怎么推荐。
脑洞实在太大,果然是拍过《26种死法》的导演才干得出来的事。为了迎合这个天窗般的脑洞,电影里某些人物都被塑造的非常诡异,性格的骤变让人无语。不过这样无法用类型片来定义的片子,也许才能被称得上电影中的“先锋”吧。
披着怪兽科幻片外衣的小清新女权主义电影,有点小悬疑有点小惊悚。中段让人想起危狱惊情开头,结尾如果改成怪兽一脚踩下去两人形神俱灭同归于尽不就更意味深长?!
word妈呀这应该是我今年看过最反套路的电影了吧。以为是怪兽片以为是爱情片以为是鸡汤片,结果是个女主手撕男主的恶搞片!内心阴暗的人直接狗带吧!表白我安妮·海瑟薇,哪怕演一个酗酒的撸瑟,智慧和美貌也双双在线呀~~~
年度最大脑洞片候选,估计斯坦·李和他笔下的漫威宇宙也写不出拥有这种超能力的英雄吧
这个怪兽很大吗?我看还没有导演的脑洞大。
这是什么神节奏。看到觉得浑身难受的标准节奏。
这种设定反而有种教育意味,长大了也还是伤不起的孩子。构思很有意思,但是三流的的表演,四流的制作。
找大表哥英味原声出演这样一个傲慢中产男友还蛮好笑的 这样黑英国人吗哈哈哈 脑洞够了但爽劲没跟上 怎么感觉安妮海瑟薇发福了
为啥首尔不疏散……
還挺有意思的...............男的反轉得有點雷,大表哥怎麼就炮灰了呢
哈哈哈哈一本正经胡说八道,全程黑人问号脸,但毕竟怪兽片套路化严重,拍成这样还挺有趣的。
天哪我简直不敢相信这是我大安妮和大表哥一起拍的电影,各种傻逼情节让人分分钟想弃片。无头无脑根本不知道想表达什么。内心的愤怒化成怪兽互相掐架?傻逼朋友一会儿好人一会儿大恶人?无力吐槽
Mocap
不是怪兽片,不是爱情片,不是治愈片,至于是什么类型,我也不知道啊。一会儿打,一会儿哭,一会儿温情,一会儿丧,一锅大乱炖,并不知道看了什么。 @2017-05-03 20:20:40
其实就是一部独立电影而已,接着脑洞说那些现代人的心理困境以及女性意识的觉醒,有很多莫名其妙的地方但是倒不至于让人讨厌,不过比较可惜的是喜剧感几乎没有。
新奇创意背后支撑这部令人眼前一亮的反类型作品的是精巧工整的剧作,主角与反派两个角色遵循着巧妙的对应与对立,不论是致命缺陷的对应、过去与当下的对应,还是内心转变与抉择的对立都是工整精巧的,就连地点也要对应。剧作层面上的叙事是女主克服致命缺陷与童年创伤历程的解构与有想象力的具象化。