A shallow movie can attract a shallow audience, and a shallow audience is willing to pay for a shallow movie, which seems to be a good closed loop.
But this is a question of "view". People always have to pursue something, otherwise it is different from salted fish.
Being shallow is easy, I get it. But hardness shapes a soul. So is the
little girl movie. The same goes for feminist movies. Flat and straightforward like a piece of white paper? sure. But if you can improve to Origami's origami art through hard work, isn't it worth trying and exciting?
"Crossor Behemoth" is such a wild, clever and charming monster/inspirational/comedy/thriller/sci-fi movie: it has a basic setting similar to "Godzilla" and "Pacific Rim", but in essence The above is a contemporary fable about women's search for self and independence.
In the works of Spanish director Nacho Vigarondo, we often see all kinds of weird, mixed and distorted settings. 2007's "Time and Space Crime" is one of the best time travel movies, using few characters to wrap the timeline into a ball of yarn; 2011's "Aliens" set the classic background of alien invasion It’s the dinner, and the minimalist romantic comedy is the dinner; 2014's "Pop-up Cry" is a courageous experimental movie, and the whole process is played on the computer desktop.
We can even say that these flowers are the essence of Nacho Vergarondo's movies. "Crossau Behemoth" has a higher rank and better special effects, but it is essentially consistent with the director's usual ideas and methods, dare to blur the line between absurdity and reality.
What is brewing the existence of "monsters" in human hearts? In "Crossor Behemoth", Nacho Vergarondo concretizes this emotional image, thus avoiding the audience's preconceived thinking habits. Although the "behemoth" in the film is devastated in South Korea, this element is only a small part of the film. At the same time, its physical existence is a clear metaphor for those terrifying monsters that can cause the same catastrophic damage.
Monsters are human beings themselves.
The feature film of "Crossor" is very different from its misleading trailer, and it is far from being a sci-fi comedy action movie. The content of the comedy is only a little bit, and it is more obvious in the first half, but in general, it is not only more expensive.
Although the characters in this film seem to be a little flimsy, this flimsy has its realist function and has important significance in this sensitive and fragile story. By digging into the characters' inner and emotional experience, "Crossau Behemoth" provides the audience with a unique perspective to understand the huge impact of domestic violence, alcoholism, and denial of emotions on their lives. Unlike "Death Illusion", which is obscure and difficult for the sake of obscurity and difficulty, "Crossor Behemoth" has a very detailed excavation in the emotional changes of lovers who are not satisfied with Youda and above. The characters are undercurrent between various emotions such as conflict and jealousy. Surging, afraid to face the trauma of the past, refused to go deep into the dark corners of his heart, leading to a series of big and small events.
In the second half of the movie, "Crossor Behemoth" has a bold and unexpected turn. Vergarondo uses a highly dramatic plot and quite realistic monster destruction scenes to create a roller coaster-like violent storm. The self-hatred and pathological obsession of the characters in the film, coupled with jealousy and remorse, is underwhelming under the calm portrayal of Vergarondo. And how these many emotional elements are extracted from the characters, the behavior motives rooted in the real world, and the whole process of how to become a self-digging grave, are the surprising places of "Crossau Behemoth" .
Although Vigalondo has a genius side in narrative, his works often have implementation problems in the conversion of high concepts. Fortunately, several protagonists have well neutralized this kind of disharmony between existence and on and off the camera.
The bold fusion of Asian monster movies and humanistic emotional drama in this film provides a rare performance opportunity for Anne Hathaway. This is another good window after her 2008 "Rachel's Wedding", letting us see the emotional power that Hollywood princesses can control when dealing with extraordinary characters. As the absolute protagonist of the movie, Hathaway and the director convincingly demonstrated the dilemma of the heroine Gloria-trying to paralyze herself with alcohol and completely isolate herself from the outside world. And in the end, as a scarred survivor, she finally stood up by her own strength, defeated the men and men who intended to control her life, and achieved self-awakening and transcendence.
Although the production cost of "Crossor Behemoth" is very low, it shows full confidence. In the final analysis, this is a film about how women find their self-respect, and Hathaway is well integrated between comedy and sadness, delusion and anger.
However, it needs to be pointed out that although the original concept of the film is very interesting, it still has many shortcomings in many places. The plot has to be compensated for, and there is a lack of effective transition. For SNL graduate Jason Sudekis, this is by far the weirdest role in his career. Although the effort to surpass the traditional comedy image is worthy of recognition, this pan-transformation did not achieve a success similar to Steve Carell, and the transition between drama and suspense can be better polished. At the same time, Tim Blake Nelson and Dan Stevens seemed a bit cramped. As experienced actors, they felt strange and uncomfortable under excellent performances.
"Crossor Behemoth" may be Vigarondo's most ambitious film to date. Although limited by budget, the film still maintains a high overall standard, and Anne Hathaway and Jason Sudekis enriched the content of the film and gave it enough depth.
So, what is brewing the existence of "monsters" in our hearts? The answer provided by Vergarondo is that everything inside and outside, everything that is unrealistic and realistic, can cause great damage-and this damage is far more than just physical destruction, but also psychological depression. . Vigalondo explored contemporary egoism in "Crossor Behemoth"-it is the world that is wrong, but it should be himself. And "Crossor Behemoth" reminds us that the "monster" in our hearts is far closer than we thought.
Like I said, this is still a question of "viewing".
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