Writer-director Nacho Vigalondo is no stranger to off-the-wall storytelling; Los cronocrímenes (Timecrimes) may be the best film featuring time-travel ever. In Colossal, Vigalonda tries his hand at a kaiju movie, but infuses it with his own style. Vigalondo exploits the genre for allegory and dark comedy, crafting an inventive exploration of indulgence, regret, and self-destruction – followed by attempts at self-improvement. The director has a deft command of his characters, abrupt shifts in mood and tone, and thematic allegory. The peculiarity of Colossal is a big part of its appeal, but it has far more to offer than its bizarre gimmick.