Anne Hathaway’s emotional problems have a “Colossal” effect on Nacho Vigalondo’s funny fantasy.
The first two features of Spanish Nacho Vigalondo’s “Timecrimes” and “The World of the Upper World” were incredibly magnificent because their fantastic concepts included very small-scale, low-budget narrative borders. With “Kolosel”, the digital effects and crowded scenes that actually come to the region visualize the strangest aspects of a new fantasy tale with time travel, alien invasion or (in this case) giant monsters. Fighting him with a city view.
But if the physical canvas is expanded here, the imagination of the author-director is further reduced.