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Dan Stevens

Blu-ray: Colossal

Colossal (2017) is the oddest and most inventive film to come out of the new wave of giant monster movies. It stars Anne Hathaway as Gloria, an out-of-work writer turned reckless party girl and black-out drunk who is kicked out of the Manhattan apartment she shares with her exasperated boyfriend (Dan Stevens) and returns to her dreary hometown and moves into her empty, abandoned family home. She runs into her childhood best friend Oscar (Jason Sudeikis), pretty much the only pal from her generation left in town, and gets a job waitressing in the sleepy bar he inherited. Unanchored and lacking any plan, goal, or motivation of any kind, she continues drinking her nights away with this new crew until she wakes up one morning (after another alcohol-fueled blackout) to find out that a towering Godzilla cousin has stormed Seoul, South Korea. As it continues to appear every morning (American time) at the same time, she discovers that she has a connection to the creature, one that goes back decades.

Universal Home Video

Let’s leave it at that; discovering the twists is part of the fun of the film. If you’ve seen the trailer, you’ve seen one already, but that only scratches the surface. What first seems to be a cosmic comic lark, a goofy twist on the monster movie, gets dark in a very human way without losing the film’s creative charge or director Nacho Vigalondo’s sense of humor and poetic justice. Spanish filmmaker Vigalondo has a talent for genre mash-ups, creating fresh takes on familiar science-fiction tropes, and this film (his English language debut) is his smartest, edgiest, and most accomplished to date. Hathaway plays against her image as the likable but unreliable and unraveled Gloria, as does Sudeikis, whose easygoing manner and generosity covers up a damaged soul. She’s a mess but he’s an even bigger one and there’s nothing cute about. Tim Blake Nelson and Austin Stowell co-star Oscar’s reliable barflies and after-hours drinking buddies.

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Review: Colossal

The big concept within Nacho Vigalondo’s Colossal is clever enough that the movie might’ve rested on it alone. I mean, I can’t remember the last time I saw a film about a woman who steps into a kiddie park in her hometown and causes a giant reptilian monster to emerge in South Korea. So it’s got that going for it. But once Colossal sets its conceptual hook, it pushes its zany premise into authentically uncomfortable territory. It’s actually about something.

The woman in question is Gloria (Anne Hathaway), a frazzled millennial at loose ends. Scolded by her boyfriend (Dan Stevens) about her incorrigible partying, she moves out of their New York apartment and back to her parents’ house in a town upstate.

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Review: Beauty and the Beast

The pre-publicity for Disney’s live-action version of Beauty and the Beast might have revolved around any number of subjects: Why make a live-action redo of a classic animated film? How would Emma Watson fare outside her Harry Potter world? Had Disney spent too much money (a rumored $300 million, including marketing costs)? As it happens, the actual conversation has mostly been about director Bill Condon’s recent comment that a character in the movie might perhaps be seen as gay. This idea, that something about an American musical had gay coloring, apparently came as a great shock to—whom, exactly? After a minute of fuss about whether or not Russian film censors would allow the movie to be shown in their country (they will, but only to people over 16), the issue seems to have died down.

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Film Review: ‘The Guest’

Dan Stevens

Whatever Adam Wingard is drinking, please keep ’em coming. The director’s most recent two features are uneven but brimming with nerve and invention: You’re Next (released here last year) upends the conventions of the home-invasion slasher movie and let viewers laugh through their gasps; and The Guest works increasingly daffy variations on the mysterious-stranger subgenre. In this case the stranger is an Afghanistan vet, David (Dan Stevens, a Downton Abbey refugee), who shows up at the front door of the Peterson home in Small Town, U.S.A. The Petersons have lost a son in battle, and David was with him at the end—indeed, David’s here looking in on the family because of a promise made at the hour of death. Or so he says. How many mysterious strangers can be trusted on such things?

We won’t give away the answer to that question, but Wingard and screenwriter Simon Barrett are clever at playing a certain kind of audience-engagement game.

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