The following is a history of things to come. August 11th, 2013, will come to be
known as “K-Day.” Giant monsters called
Kaiju will emerge from the depths of the ocean and lay waste to human
civilization. In reaction to this crisis,
the Jeager program was developed.
Jeagers are giant anthropomorphic vehicles that have been properly
weaponized to fight the Kaiju. Each one
is manned by a pair of human pilots who share the “neural” load via mindmelding. The Jeager pilots fight valiantly and turn
the tide. However, each new wave of
Kaiju proves more fearsome and destructive than the last. Eventually, the Jeager program’s
effectiveness came into doubt. However,
Jeager Force Commander Stacker Pentecost (Idris Elba) presses on, as defeat is
not an option.
Pacific Rim is
Guillermo Del Toro’s loving tribute to japanese Kaiju films and mecha
anime. It comes two years after the
Michael Bay’s third Transformers
film. Unlike that mega successful
franchise, Pacific Rim isn’t an
adaptation of any kind. It wasn’t preceded
by nearly a quarter century’s worth of prerelease marketing via toys, cartoons,
and comics. It’s an original creation (relatively
speaking). It performs its duties earnestly,
providing casual viewers and outsiders alike with an accurate example of that
which it pays homage to.
Guillermo Del Toro is perhaps the most underappreciated
visual stylist working today. His cinematic
visions are simultaneously enticing and repulsive. Pacific
Rim is yet another triumph in that regard.
It gradually transitions from dystopic, war-torn wastelands to gaudy sci-fi
noir cityscapes. It also ventures into
the gooey carcasses of slain beasts, and onto the cadaver tables of over eager
scientists. Watching the film is like
touring overactive imagination. Viewers
will be awed and disgusted in about equal measure. Most likely, they will be thankful for it.
Chief among the many complaints lodged against Michael Bay’s
Transformers trilogy (Soon to be a
quadrilogy) is his clumsy and notion of spectacle. ILM’s brilliant FX work was often obscured by
horrible filmmaking. The overly busy character
designs only added to the visual confusion.
The Jeagers are also concealed for much of Pacific Rim’s running time,
but in a more skillful way. Most of their
outings take place under overcast skies, or the cover of night. One even takes place in the depths of the
ocean. This is undoubtedly meant to aid
in the suspension of disbelief.
Thankfully, viewers aren’t kept completely in the dark. The Jeagers are still glimpsed in all of
their towering glory. There’s a sense of
both scale and mass. They lumber
convincingly from one end of the screen to the next. The weather conditions and environmental
conditions add mood and presence to each confrontation. The action scenes could have been rendered more
clearly, but sequential progression is maintained nonetheless.
The story, such as it is, adheres to the tenants of modern
day “alien invasion” films. Enthusiasts
will notice some very obvious similarities to both Independence Day. All of the
expected tropes are in place, from the hive-minded antagonists to the
concluding suicide mission. It is here
where Del Toro’s true intentions become clear.
He isn’t interested in reinventing the wheel, nor is he engaging in an
act of transcendence or deconstruction.
He understands exactly what this film should be, and proceeds
accordingly. That lack of pretense is
the film’s saving grace. Fans of “hard”
sci-fi are indulged, but only to a degree.
The film could have benefited from a more concise screenplay, as the second
act lags just a bit.
Being that Pacific Rim
is completely derived from kaiju films and mecha anime, it makes constant
references to well-known properties from both genres. The way that Jeager pilots interface with
their assigned vehicles recalls that of Neon
Genesis Evangelion. They also sport
appropriately colorful haircuts and codenames.
The Jeagers have an arsenal of weapons that will be readily familiar to
anyone who has ever watched an episode of Voltron. There are also visual references to the
tentacle porn variety of anime.
The acting and characterizations are well-suited to the
material, which is something of a mixed blessing. Del Toro follows the standard operating
procedure of war films to the letter, specifically the sci-fi variant. Both the hotshot pilot and the experienced
yet reluctant hero are present. As
commander Pentecost, Idris Elba is much more of a concerned dad than a
stereotypical “Angry Black Boss.” Charlie
Hunnam is solid as shell-shocked jeager pilot Reliegh Becket. However, he’s never allowed to be much more
than an archetype. Rinko Kikuchi strikes
a good balance between sex appeal and vulnerable femininity. She does so while remaining as formidable a
warrior as the story requires. In truly just world, she would be the film’s
lone protagonist. Ron Perlman’s
glorified cameo is as refreshing as ice-cold Kool-Aid on a hot summer’s
day.
Pacific Rim is
exactly what its advertising materials promise.
In a world where summer Blockbusters have become clumsy, lumbering
behemoths, it strides gracefully. It’s
not a perfect creation, but a wholly satisfying one. It seeks to preserve the relics of childhood
rather than retooling them for an increasingly cynical populace. If only Michael Bay could develop as light a
touch.
After that snore-fest known as Lone Ranger, I'm just glad to get a movie that's fun and knows what it is. For better or worse. Good review Scott.
ReplyDelete"Most likely, they (the viewers) will be thankful for it". Simple but so true. That's exactly how I feel, delighted and thankful for the surprising experience I haven't expected to have, for the emotional touch and the "nice to meet a blockbuster that's more than just a bunch of special effects" impression.
ReplyDeleteasphalt 8 mod apk dream league soccer mod apk dragon city mod apk
ReplyDelete