Remember when Neo is attached to
the Matrix for the first time and ‘logs in’ to the system. Remember that
sequence in Fellowship of the Ring where
we two enormous statues as the heroes in a small boat cross the Gates of
Argonath. Remember when in Terminator 2 the
T-1000 is frozen by liquid nitrogen and is shot to smithereens by Arnie. Remember
your shit eating grin while you watched all these scenes and the endless hours you
spent geeking out with your friends discussing them. Guillermo Del Toro’s Pacific Rim will generate a whole new
generation of geeks, because it has such scenes of, as Panda Po would say, Pure
Awesomeness.
It’s not often that we get to see
a large scale science fiction blockbuster movie that renders that sense of total
admiration on your face. Somewhere in the mid 2000’s giant monsters and robots
became a perfunctory, soulless aspect of modern cinema (thanks, Michael Bay). Every
tentpole summer blockbuster became simply bigger in scale, but significantly
smaller in energy. Del Toro understands that, and rocket punches the apocalypse
of mediocre Hollywood cinema in the scrotum. In Pacific Rim he brings his trademark flair for the escapist fun, the
entertainingly gross, the nerdy weird, the cheekily comic and the subtly terrifying
on a ginormous canvas and delivers the most satisfying action movie in a long,
long time. As the audience, we are fortunate that the man adores robots and
monsters, because he toys with the material with passionate, childlike
enthusiasm with a mature and imaginative foresight to sell it to us.
Del Toro knows the inherent
stupidity of the premise, so instead of wasting time with some origin story ala
Emmerich and Bay, he cleverly lays out the entire plot in the opening five
minutes – there are huge monsters (Kaijus) oozing out of some vortex in the
Pacific Ocean and they want to kill everyone, and the only way to fight these
guys is to build huge manually controlled robots (Jaegers) to punch them in the
face. The opening minutes have more bombastic momentum than the whole of The Avengers, and by offering the buffet
of exposition before the title even shows up the film avoids the burden of pulling
a rabbit out of a hat and convoluting the story with some lame twist.
An ignorant viewer will be
unhappy with the story, characters and dialogue because he will only consider
them as clichés, without realizing that Del Toro is playing with most of the clichés
that plague Hollywood blockbusters. They won’t realize that they’re in on the
joke when in one scene two characters speak in Japanese but are clumsily dubbed
over in English, a clear nod to the Godzilla and Motra movies. The protagonist
is a square jawed gravelly voiced archetype, and the characters have names like
Hannibal Choi, Miko Mori, Herc Hanson and Stacker Pentecost – these are
straight out of a comic book and, it is fun to see these guys instead of some
superheroes with existentialist angst or mommy issues. There is quirky scientific
mumbo jumbo camaraderie between Charlie Day and Burn Gorman as bickering
scientists who are clearly a modern day homage to Doc from Back to the future. Stealing the show is Idris Elba who is probably
the greatest actor in the world because he convincingly hurls the corniest
possible lines in booming zeal beating even Bill Pullman from Independence Day. The last movie that so
blatantly fiddled with comic book style typecasts was Paul Verhoeven’s
nihilistic satirical classic Starship Troopers.
In the Transformers films one couldn’t give two shits about the diverseness
of the robots, in Pacific Rim each Jaeger
has a distinct personality depending on the country it originates from – it’s unadulterated
geeky pleasure to wolf down the gourmet meal of details that go into their
design. One has energy cannons, one has a retractable sword, another has
missiles. The attention to detail in the CGI is phenomenal as the hulking seven
storey high robots move with the correlation of their physical limitations; they
even have limited ammunition which forces them to have brawls with the faster
moving Kaiju. The fight scenes are, well, wild and iconic to say the least,
best enjoyed in 2D because the 3D becomes jarring in a dark, rainy pitched sea
battle. The big disappointment is that Del Toro leaves out the roles of pilots
of the non-American Jaegers on the cutting room floor and makes the US Jaeger Gipsy
Danger the hero just to make the rednecks scream AMURICAAAA. That said, Del
Toro has reminded us what blockbuster cinema used to be like, he has created a terrific
new world and mythology, and for a change a more expansive sequel would
actually be welcome.
(First published in MiD Day)
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