More plodding and expository in it's second half than I recall, but still lush and full of humor and character.
Kiarostami's final act is a grueling digital and cinematic exercise. Designed for dodding heads, 24 Frame's surreal recreation of mundane scenes is less a movie than a collection of unassuming, clearly artificial scraps from the camera roll. It's filled with lots of fake birds and plays like a series of Spot the Difference games, but the clips are 2-3 minutes too long and often become a chore to look at. Know what you're getting into and it's a casual, low-effort way to rest up with a range of pleasant scenery; come in for an engaging movie and you'll be disappointed.
Somehow, a film that starts off with a massive kaiju looming over Seoul manages to exemplify some the worst fetishes of action flicks and modern, self-aware TV romcoms.
I appreciate Colossal's overall themes and intentions. I appreciate its commentary on the diverse flavors of toxicity in relationships, and its championing of the independent female spirit. But these intentions don't excuse its heavy-handed, pandering approach to expressing these themes, and they don't excuse its other numerous offenses, from awkward-sexy boy-girl interactions…
To be clear, this film isn't supposed to break any new grounds. It probably won't fill you up with many warm, gooey feelings, and it will never try to surprise you. Every one-dimensional character in Mary and the Witch's Flower seems to be plucked from a Kindergarten children's book, and the humor plays off accordingly — loud and proud.
The beautiful animation and scenery is wasted on bubble-gum backdrops. They never build up into a cohesive, lived-in universe, and our…