The Tomatometer rating – based on the published opinions of hundreds of film and television critics – is a trusted measurement of movie and TV programming quality for millions of moviegoers. It represents the percentage of professional critic reviews that are positive for a given film or television show.
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The Tomatometer is 60% or higher.
The Tomatometer is 59% or lower.
Movies and TV shows are Certified Fresh with a steady Tomatometer of 75% or higher after a set amount of reviews (80 for wide-release movies, 40 for limited-release movies, 20 for TV shows), including 5 reviews from Top Critics.
Percentage of users who rate a movie or TV show positively.
Hathaway is miscast in a snarky role that Anna Kendrick would have knocked out of the park, but the players are less important here than Vigalondo's talent for constructing a narrative room full of mirrors.
Though there's a real monster terrorizing Seoul, a giant, hairless thing that looks like a 700-foot boiled cat, we spend Colossal with our human beast. In her hungover eyes, we see horror and empathy: What did I destroy last night?
Though the film never quite abandons its absurdist comedy and its boyish glee for romping monsters, Colossal also becomes a brutal psychological horror movie, more unforgiving and savage by the minute.
Engaging ideas bubble up every so often in Colossal, a film that carries out magical thinking to its extreme. But the audacity of its conceit is inexorably tamed, becoming an all-too-familiar lesson on saying no.
"Colossal" takes diminishing advantage of an amusing premise, one that seems made for satirical treatment yet is executed with an increasingly awkward semi-seriousness the characters aren't depthed (or likable) enough to ballast.
The cast's likeability keeps us on board, watching the sometimes baffling behavior onscreen just like those on the streets of Seoul, who gape up at a monster in horror but can't make themselves flee to the suburbs.