There’s a rich history of monster movies that use giant rampaging creatures as instruments of allegory as well as destruction. The first King Kong explored humanity’s contradictory desires to admire and destroy the natural world. The original Godzilla reshaped Japan’s World War II nuclear trauma into a terrifying vision of destruction. Nacho Vigalondo’s Colossal does the same; envisioning a monster as an expression of addicts’ uncontrollable inner demons. That idea is just about perfect; the execution of that idea, sadly, falls short.
If Colossal isn’t on your radar, it should be. The new film from Nacho Vigalondo (Timecrimes, Open Windows) is his best yet — and the first full trailer hardly does it justice. Featuring an absolutely phenomenal performance from Anne Hathaway, Colossal offers a hilarious, thoughtful and strangely poignant twist on the classic kaiju movie, and is easily one of the most surprising films of 2017.
When it comes to ambitious, imaginative sci-fi, Nacho Vigalondo is one of those names people tend to mention. The Spanish director known best for time-travel head scratcher Timecrimes is back with a new movie, this time about a giant monster and the woman who can control it with her mind. Kinda.
Last Week Tonight host John Oliver rails often enough against the HBO series being mistaken for journalism; it was only a matter of time the series itself would put the Spotlight on actual press. And so, to cap off a piece highlighting the plight of print journalists, Oliver recruited Vinyl star Bobby Cannavale, Rose Byrne and more for their very own Spotlight parody, Stoplight.
There were plenty of fantastic moments in SNL’s Season 41 finale, and while the last sketch of the night might not have been the most laugh-out-loud funny among them, it was definitely the most wonderful. Host Fred Armisen brought a few of his fellow SNL vets together along with a couple of special guests to form the perfect, subtly quirky ’70s southern jam band, complete with 20-something members and a tambourine or two.
There’s no silence quieter than the one in a movie theater during an bad comedy. At times during Mother’s Day, director Garry Marshall’s newest debasement of a beloved holiday, a hush fell over the theater to rival the quietude at a Benedictine monastery. When the laughter finally came, it’s always at the movie’s expense. This disaster is less deliberately funny than the last movie titled Mother’s Day, and that was a violent horror film.