pacific rim movie rating australia – ‘Pacific Rim’

The first film set up this world and showed us its power dynamics and character relationships; this sequel, uninterested in how we got to the events of Uprising,” is more concerned with smashing the robots and the monsters together.

pacific rim 2 movie cast – Pacific Rim Uprising (2018)

pacific rim movieJohn Boyega is a movie star. And all their roots in action and fantasy have a part in Uprising, which plays out much like an action-adventure game, with escalating battles and increasing stakes, all the way up to the final boss fight. The story and characters here are strictly secondary. What matters is the clash of humongous bodies, and the monumental devastation they leave in their wake.

But in Pacific Rim Uprising many of these faults can be overlooked because the film doesn’t try to be more than what it is—two hours of Kaiju fighting. With a whole Hollywood industry that tries to pass off explosion porn as worthwhile filmmaking, Uprising does due diligence to make your care about the characters and their situation. By the end, you can’t help but root for humanity’s increasingly small chances.

Not soon after arriving back at Jaeger training, a drone Jaeger starts attacking Sydney, and robots start fighting other robots, before robots start fighting monsters. Pacific Rim was mostly streamlined simplicity, not adding too much to the Jaeger vs. kaiju story. But Uprising and its four screenwriters pack this sequel with digressions and too many storylines. Scott Eastwood takes Hunnam’s place as bland white dude who helps pilot the Jaeger,” and Tian Jing is introduced as Liwen Shao, a businesswoman who plans on making drone Jaegers the standard for kaiju-fighting.

Pyrrhic Victory : Otachi and Leatherback are slain before they can destroy Hong Kong and make it further inland, but at ruinous cost to the humans. Two of the four remaining (and irreplaceable) Jaegers are destroyed along with their veteran pilots, not to mention another veteran, Herc Hansen, is sidelined from breaking his arm. The losses render humanity effectively incapable of holding off further Kaiju attacks, which will be coming more frequently and with escalating deadliness, unless they do something desperate to stop the problem at its source.

First, what I like the most: I liked abiding theme of science and technology being tools for human salvation. There are literally no scenes without some object of human ingenuity in view. The giant robots are man-machine saviours that aid humanity in fighting against grotesque organic monsters.

On the verge of defeat, the forces defending mankind have no choice but to turn to two unlikely heroes-a washed up former pilot (Charlie Hunnam) and an untested trainee (Rinko Kikuchi)-who are teamed to drive a legendary but seemingly obsolete Jaeger from the past. Together, they stand as mankind’s last hope against the mounting apocalypse.

We all carry a great sense of wonder. It seems to hide away as we get older, but was always strong and persistent when we were children. We could sit down and really make something out of nothing physical, or tip our toy-box all over the floor and just go mad. Pacific Rim is Guillermo Del Toro at his most unleashed. He’s been given the toys for his sandpit and has gone completely bonkers, but he has also created a sense of wonder from completely nothing.

It’s Sunday afternoon on the sofa material I think. I know these kind of films are ‘designed’ for the big screen, but honestly I prefer them at home most of the time. Unless of course, you like feeling as though you are sitting the middle of a continuous explosion for and hour and half.

Becket’s maverick nature at times veers into unwillingness to follow direct orders. He struggles to submit to Stacker’s authority, with Becket even grabbing his commanding officer in an attempt to talk him into a certain course of action. (Stacker rightly calls him out for his insubordination.) Fellow Jaeger pilot Chuck Hansen is arrogant, verbally abusive and condescending to Becket.

It’s awful. The writing is stilted, it somehow has less story and flatter, less sympathetic characterization than the movie despite being longer, it’s clearly based on an earlier and inferior version of the script, and was written by someone who didn’t understand the characters, and not only is it not consistent with the movie, it doesn’t even manage to create an internally consistent universe of its own – it contradicts its own timeline and worldbuilding. And the science is worse than in the movie, which I wouldn’t’ve thought possible.

Interestingly, Del Toro showers special attention on the comical scientist characters, played by Charlie Day and Burn Gorman. It’s likely that he identified with their passion for monsters. Likewise, Del Toro’s favorite actor, Ron Perlman , appears in a showy, hilarious role as a black market monster parts dealer. Not surprisingly, the battles and effects are spectacular, making clear use of space and creating a sense of size and weight – unlike the clumsy, shaky Transformers movies. It could have used more heart, but Pacific Rim gets the job done.

A film like Uprising doesn’t have the luxury of letting moments really sit with audiences. It’s a quick one-two punch and we’re onto the next plot point. While some characters like Jake Pentecost get a full backstory and characterization, some side characters feel somewhat pointless. Adria Arjona’s Jules Reyes feels inconsequential and the animosity among Amara and some of the young Jaeger recruits feels manufactured at best. In the end, it feels like this film tried to pack too much in its meager 111-minute runtime.

That certainly holds true for Pacific Rim: Uprising, the slick, upbeat sequel to Guillermo del Toro’s giant-monster movie Pacific Rim The 2013 film had a lot of heavy lifting to do, as it established a version of Earth beset by immense, other-dimensional monsters called kaiju, and explained humanity’s effort to fight them off with equally titanic mecha-suits called jaegers. Del Toro’s film promised a high-tech modern update on the Japanese rubber-suit monster movies of the 1950s through the 1970s, which featured gargantuan beasts clashing against each other, sometimes flattening cities in the process. But Pacific Rim sometimes got bogged down in its own mythology, as del Toro and co-writer Travis Beacham tried to cover the protagonists’ personal baggage, build in del Toro’s usual themes of people haunted by history , and explain new concepts like the Drift, the psychic connection jaeger pilots have to forge with each other to run their huge machines.

2. This should be called Pacific Rim: Characters with Daddy Issues. Just kidding, but not really since it kind of seems to be a theme. I guess since this book is an official novelization, Irvine was privy to information that was withheld from the movie. When I learned that Herc saved his son and let his wife die, I was devastated. It gave context to the movie when there was none and it made the ending even sadder knowing that Herc has now lost his entire family. Oh my Feels. I UNDERSTAND NOW! BUT IT’S TOO LATE. IM GOING TO CRY. NO, I AM CRYING.

On the surface, del Toro’s original Pacific Rim is Robotech versus Godzilla, yet it’s much more than that. It’s a story about dealing with PTSD after the loss of a sibling in a war that every day looks more and more unwinnable, so much so that the only offensive program is about to be shut down in favor of a more defensive idea. In short, it’s about humans dealing with insurmountable odds.


Boyega does play Jake Pentecost, the son of one of the robot pilots in the previous film who died. That dead father trope comes straight from the Stars Wars universe too, but Idris Elba played the now dead father and whatever charisma or appeal Elba had is perfectly transferred into Boyega here. Having a sequel be about the son of the former protagonist now dead is the same narrative trick that was pulled in Independence Day: Resurgence (2016), but only here it makes more sense and Boyega has immensely more gravitas than Jessie Usher in that 2016 bomb.

Slattern: Cut open numerous times (including having its throat slashed and arms nearly sliced off), repeatedly stabbed, takes a nuclear bomb to its face. It finally goes down for good when cooked alive by Gipsy Danger’s nuclear turbine point-blank until the blast starts coming out of its back.

Aficionados of classic Godzilla movies not only appreciated the original, but the film also introduced the monster vs. robot genre to a new generation. “Pacific Rim Uprising” focuses more on flaunting in-demand John Boyega to a young, Finn-loving audience. Yes, “Uprising” is a big, fun blockbuster, but so was its predecessor, which seems like a Hokusai masterpiece next to this comic strip.


There are a couple good things I can say. For one, a movie about giant robots and monsters should appeal to kids as well as adults. Since the cast of cadets are mostly teens, I can see kids really connecting with their part of the story. Which is fine, since it’s better than having them connect to anything involved with another giant robot franchise that shall remain nameless.

Del Toro’s vision of Mako was of someone “who has the equal force as the male leads. She’s not going to be a sex kitten, she’s not going to come out in cutoff shorts and a tank top, and it’s going to be a real earnestly drawn character.” Mako Mori could be viewed as a precursor to characters like Charlize Theron’s Furiosa, Gal Gadot’s Wonder Woman, Letita Wright’s Shuri, and Lupita Nyong”s Nakia, all characters who have appeared in cinemas in the five years since the first Pacific Rim.

Pacific Rim is triumphant above the rest of the blockbuster herd. It knows what is missing from the norm and just goes crazy with it. Its a big, giant load of awesome fun. Prepare your jaw muscles, because you’ll be smiling throughout.

If that description above seems too clinical, then how about this – these setpieces are superb; in fact, they are worthy of every superlative that you can think of. Working on a gargantuan scale, del Toro executes the action with magnificence, whether the fleeting shots of the destruction of the Golden Gate Bridge at the beginning or the more detailed sequences in the middle and at the end – in particular, a simply jaw-dropping one begins at sea just off the waters of Hong Kong and then continues seamlessly inland where both the port and the very city centre gets decimated by two Jaegers battling two Category 4 Kaijus.

All this is further reinforced in the Battle of Hong Kong, where Otachi and Leatherback make intelligent use of teamwork, the environment, and their enemies’ weaknesses. When Leatherback emits an EMP pulse (which completely shuts down Striker Eureka, the Shatterdome and most of Hong Kong), it’s pointed out that is not a natural defense mechanism but a weapon. The last Kaiju encountered in the climax are intelligent enough to quickly figure out that Striker Eureka is the greater threat and swarms it two-on-one while sending one to keep Gipsy Danger away from the main fight.

It isn’t just about how colossal it gets; it is also the sheer mesmerising quality of the images, starting from the amazing level of detail of the Jaegers and the Kaijus. Even though it seems to be raining a little too conveniently every time one of these battles happens out at sea, there’s no denying just how real and majestic each of them feels. On the other hand, the cityscapes are arresting in their neon hues, and the combination of the futuristic look with which del Toro paints these familiar cities with the bioluminescent appendages and venom of the Kaijus make for a particularly appealing visual palette.

By the time del Toro took on Pacific Rim in March 2011, he had been a working director for almost two decades, garnering a number of box office successes and an Academy Award nomination. He also hadn’t directed a film since Hellboy II: The Golden Army, which wrapped production in late 2007. He was also coming out of the three most emotionally draining years of his career.

Thankfully, there’s still more stories to come set in the world of Pacific Rim. Last November, Netflix announced an anime series that follows two siblings — an idealistic teen boy and his naïve younger sister — who are forced to pilot an abandoned Jaeger across a hostile landscape in a desperate attempt to find their missing parents.” While I wish del Toro got the chance to work more of his magic on this franchise, at least we haven’t reached the end of Pacific Rim stories.

Literally Shattered Lives : Downplayed. While grappling with Otachi, its Prehensile Tail wraps around Gipsy Danger’s left arm while also trying to snap at the cockpit. Their solution is to vent reactor coolant, which is located just under the armpit, and manages to freeze the tail. Gipsy Danger breaks it to free its arm. Otachi is still able to fight, but is pissed.

Super-Persistent Predator : Onibaba wouldn’t have gotten enough nutrition from Young Mako to justify crouching down and snapping her up, yet deliberately chases her down the street. It’s shown multiple times that the Kaiju are on a mission to exterminate all humans, proving that their drive in wiping out even the most inconsequential of human targets is not because they’re mindless creatures going on their instincts, but because they’re intelligent killing machines acting on orders.

Though not as well executed as del Toro’s original, Pacific Rim: Uprising” still provides a good dumb time at the theater. With a B-movie’s sensibilities and script, it’s hard not to be entertained by the cheesy spectacle of giant robots duking it out against giant monsters on a blockbuster budget.

After the aforementioned Pacific Rim 1 has been hastily synopsized, Pacific Rim 2 kicks off with an unprecedentedly deadly Pacific Rim expulsion. Whatever demon power is sending humongous whatzits up that subterranean canal, it has adapted to our killing techniques and modified its kaiju. Plus, it’s sending out two at time! Who knew it could do that? Could it possibly send three? Surely not. Raleigh and his brother, Yancy Becket (Diego Klattenhoff), are ace giant-robot (or jaeger) pilots, meaning they’re — all together now — jaegermeisters. But after they disobey orders to save a freighter, they get reamed.

One of those thieves is Jake Pentecost (Boyega, of Star Wars: The Last Jedi” ), Stacker’s estranged son who was kicked out of the PPDC years ago. But after he’s picked up for yet another petty crime, his sister Mako offers him a way out: rejoin the PPDC and help train the new group of cadets, and he can avoid jail time. It’s not what Jake wants—I am not my father,” says the man more interested in trading scrap for bottles of Sriracha and partying all night—but it’s the only option he has.

Deep down, the inner child in each viewer is stoked to see alien monsters and mechanical beasts wail on each other in the middle of downtown Tokyo. Be it an appreciation for a callback to the old Godzilla films or just an infatuation with violence and mass destruction, there’s something inherently pleasing about the action in the movie.

With this gargantuan passion project, del Toro means to fashion a giddy throwback to the monster movies of yore and restore a sense of pure escapism to the summer movie landscape, an eminently worthy goal for a genre master of such inexhaustible imagination and knowledge of the B-movie canon. Yet while the director’s love for his material is at once sincere and self-evident, it’s the sort of devotion that winds up holding all but the most like-minded viewers at an uninvolving remove; although assembled with consummate care and obsessive attention to visual detail, Pacific Rim ” manages only fitful engagement and little in the way of real wonderment, suspense or terror. It may not reside in the same crass, soulless neighborhood as Michael Bay’s Transformers” movies, but its sensory-overload aesthetics are at times no more than a junkyard or two away.


Bilingual Dialogue : Downplayed in the sense that there are bits of this in the movie, such as Mako talking to Pentecost in English and Pentecost replying to her in Japanese, or Raleigh talking to Mako in English and Mako replying in Japanese, but these are few and far between.

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Alien Blood : The Kaiju have toxic blue acidic blood. The art book Man, Machines and Monsters implies that the color was a deliberate choice to make the film more kid-friendly. Del Toro expressed his satisfaction with the choice of director on Twitter.

The only intricacies and attention to detail that could be found in this movie was in the CG design of the so called Jaegers (Robots). Yet, the movie served to ignore the basic human sense of sight when most of the movie took place in a dark setting. It was a metaphor of how the movie itself was a black hole of cash and talent with all the darkness sucking and robbing people of their investments and experiences.

Similiar to Mutavore case above — according to official data Nova Hyperion and Mammoth Apostle were both active around 20th December 2024 and already destroyed in 2025 — considering only one Kaiju attack occurred in that time both Jaegers were destroyed by one Kaiju.

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