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Pacific Rim (film)

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Pacific Rim
Theatrical release poster
Directed byGuillermo del Toro
Screenplay by
Story byTravis Beacham
Produced by
Starring
CinematographyGuillermo Navarro
Edited by
  • Peter Amundson
  • John Gilroy
Music byRamin Djawadi
Production
company
Distributed byWarner Bros. Pictures
Release dates
  • July 4, 2013 (2013-07-04) (London premiere)
  • July 12, 2013 (2013-07-12) (United States)
Running time
132 minutes[1]
CountryUnited States
LanguageEnglish
Budget$190 million[2]
Box office$90,285,325[2]

Pacific Rim is a 2013 American science fiction film directed by Guillermo del Toro, written by del Toro and Travis Beacham, and starring Charlie Hunnam, Idris Elba, Rinko Kikuchi, Charlie Day, Rob Kazinsky, Max Martini, and Ron Perlman. The film is set in the 2020s, when Earth is under attack by Kaiju, colossal monsters which have emerged from a portal on the ocean floor. To combat the monsters, humanity unites to create the Jaegers: gigantic humanoid mecha, each controlled by two pilots whose minds are joined by a neural bridge. Focusing on the war's later days, the story follows Raleigh Becket, a washed-up Jaeger pilot called out of retirement and teamed with rookie pilot Mako Mori in a last-ditch effort to defeat the Kaiju.

Del Toro envisioned Pacific Rim as an earnest, colorful adventure story, with an "incredibly airy and light feel", in contrast to the "super-brooding, super-dark, cynical summer movie". The director focused on "big, beautiful, sophisticated visuals" and action that would satisfy an adult audience, but has stated his "real hope" is to introduce the kaiju and mecha genres to a generation of children.[3] While the film draws heavily on these genres, it avoids direct references to previous works. Del Toro intended to create something original but "madly in love" with its influences, instilled with "epic beauty" and "operatic grandeur".[4]

The film is produced by Legendary Pictures and distributed by Warner Bros. It was released to generally positive reviews on July 12, 2013 including releases in 3-D and IMAX 3D.

Plot

In the near future, aliens identified as Kaijus have risen from a portal in a crevasse beneath the Pacific Ocean and started to attack coastal cities resulting in a war that takes millions of lives and quickly consumes humanity's resources. To combat the monsters, a special type of weapon is designed: massive, humanoid fighting machines, known as Jaegers, which are controlled simultaneously by two pilots whose minds are bound in a neural link which lets them share the mental strain which would otherwise overwhelm a single pilot.[5]

The Jaegers are initially successful in fending off Kaiju attacks; however, over time, Kaijus cross through the portal at a faster rate, with each new Kaiju adapted for fighting the Jaegers. As they become less effective, Earth's united governments lose faith in the Jaegers' ability; the Jaeger program is terminated, with resources diverted to building a coastal fortification to protect coastal cities. The four remaining Jaegers are redeployed to Hong Kong to defend the unfortified coastline until the wall can be completed. Stacker Pentecost, commander of the Jaeger forces, devises a plan to end the war by using a nuclear warhead to destroy the portal.

Pentecost approaches retired pilot Raleigh Becket and convinces him to return and pilot Gipsy Danger, the Jaeger he and his brother Yancy once piloted. During a mission, Yancy was killed by a Kaiju while connected to his brother, traumatizing Raleigh. Arriving at Hong Kong, Raleigh tests with potential co-pilots to find one with a strong connection, as the stronger the connection, the better their performance in battle. Sensing a strong connection, Raleigh demands to be partnered with Mako Mori. Pentecost opposes, as Mako is his adoptive daughter, but he eventually relents. The duo's initial test run nearly ends in disaster when Mako gets caught up in a childhood memory of a Kaiju attack; she inadvertently activates and nearly discharges Gipsy Danger's weapons while in the hangar. The duo are withdrawn from the field as the remaining Jaegers are tasked with fending off a double Kaiju attack in Hong Kong. The defense goes badly, with the Kaijus destroying two Jaegers and disabling a third Jaeger, Striker Eureka. Pentecost sends Raleigh and Mako to mount a last stand, and the duo drive off the assault.

Meanwhile, Dr. Newton Geiszler—a scientist studying the Kaijus—assembles a machine allowing him to establish a mental link with a Kaiju brain fragment. The experience nearly kills him, but he discovers the Kaijus are actually artificial weapons sent to Earth as an invading force to allow another species to colonize the planet. With Pentecost's approval, he seeks out Hannibal Chau, a major figure in the trafficking of Kaiju parts, in an attempt to procure an intact Kaiju brain to repeat the experiment. Chau criticizes Geiszler's merging with the Kaiju brain, as he has attracted their attention, and the Kaiju attacking Hong Kong are seeking him. After Gipsy Danger kills the two Kaiju, Chau and his team move in to harvest parts. Geiszler realizes one of the Kaiju is pregnant; Chau and his crew are attacked by the newborn, which dies after eating Chau. Geiszler and his colleague Hermann Gottlieb merge with the baby Kaiju's intact brain, where they discover the secret controlling the flow of Kaijus through the portal.

The Jaeger forces reassemble to complete their plan to destroy the portal. Pentecost, revealed to have been one of the original Jaeger pilots, takes command of Striker Eureka as one of its usual pilots was injured in the defense of Hong Kong. Pentecost ventures into the ocean depths, with Raleigh and Mako supporting him. Geiszler and Gottlieb inform them the portal has a fail-safe system to control the passage of Kaijus, and will only allow them to enter if they can mimic a Kaiju's genetic code. Before they can process this information, they are attacked by three Kaijus, including the largest on record. Pentecost detonates the warhead, sacrificing himself and Striker Eureka to kill the Kaijus guarding the portal. Raleigh and Mako seize a weakened Kaiju and enter the portal, intending to overload Gipsy Danger's nuclear reactors to use it as an improvised bomb. With the Jaeger critically damaged by the fight, Raleigh ejects Mako and manually overrides the safety protocols before ejecting himself. Gipsy Danger detonates on the other side of the portal, destroying it and the alien commanders, as the two pilots emerge safely on the sea's surface.

In a post-credits scene, Chau—revealed to have survived—cuts his way out of the baby Kaiju's stomach.

Cast

Top to bottom: Charlie Hunnam, Idris Elba, and Rinko Kikuchi star in the film as Raleigh Becket, Stacker Pentecost and Mako Mori respectively.
A washed-up former pilot called out of retirement by the Pan Pacific Defense Corps.[6] On casting Hunnam, del Toro stated: "I saw him and I thought he had an earnest, really honest nature. And he was the kind of guy that I can relate, as a male audience member I go, 'I like that guy. I would like to have a few beers with that guy' ... he has an earthy quality.[7] Describing the character, Hunnam stated: "When you meet me, in the beginning of the story, I've suffered a giant loss. Not only has it killed my sense of self-worth, but also my will to fight and keep on going. And then, Rinko and Idris, and a couple other people, bring me out of retirement to try to help with this grand push. I think that journey is a very relatable one. Everybody, at some point in their life, has fallen down and not felt like getting back up, but you have to, no matter how difficult it is."[8] Hunnam was also considered for the role of Prince Nuada in del Toro's previous film, Hellboy II: The Golden Army.[9]
Becket's commanding officer. On selecting Elba, del Toro stated: "This is a movie where I have had to deal with more dialogue than ever, and the way I cast the movie was—who do I want to hear say these things? Who do I want Charlie Hunnam to go against? Who can really tell Charlie Hunnam 'sit down and listen'?"[7] In another interview, the director said: "I wanted to have Idris not be the blonde, square-jawed, anglo, super hip marine that knows [everything]. I wanted somebody that could bring a lot of authority, but that you could feel the weight of the world on his shoulders. When I watched Luther, that's the essence of the character... Luther is carrying literally the evils of the world on his shoulders. He's doing penance for all humanity... Idris is one of those actors that is capable of embodying humanity, in almost like a Rodin sculpture-type, larger than life, almost like a Russian realism statue, you know, big hands, all the turmoil of humanity in his eyes. I wanted somebody that you could have doubts internally, and very few guys can do that."[10] To prepare for the role, Elba watched footage of politicians David Cameron and Barack Obama, as well as Russell Crowe in Gladiator and Mel Gibson in Braveheart.[11] Tom Cruise was considered for the part before Elba was cast.[12]
Becket's co-pilot who lost her family in a Kaiju attack. Though Mori possesses a strength and fury that should serve well against the Kaiju, Pentecost is reluctant to use her, partly because of a fatherly bond and partly because he knows she is still fighting the terror of her childhood.[13] Del Toro stated: "I was very careful how I built the movie. One of the other things I decided was that I wanted a female lead 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."[14] Noting that the other actors were exhausted and "destroyed physically" by filming in the intensive Jaeger cockpit harnesses, del Toro said: "The only one that didn't break was Rinko Kikuchi, the girl. She never complained... I asked Rinko her secret and she said 'I think of gummi bears and flowers.' I try to do that in my life now."[15] Mana Ashida plays a young Mako Mori in a flashback which she won the role during her audition which impressed the judges with her rich expressiveness.[16]
A scientist studying the Kaijus. Day stated: "Certainly myself and Burn Gorman provide a little bit of much needed levity, it's a break from the monsters and the guys fighting. But then the character gets thrust into the story in a way that his life is seriously at risk and it becomes a little more action oriented and a little more horror movie-esque. So, he kinda bounces back between being humorous and also being real... the rest of these guys, they look really good in their suits and they've got abs, they can kick and fight and punch. Newt is sort of the 'everyman' and he's flawed and he's arrogant."[17] Del Toro gave Geiszler the mentality of a celebrity chef, with tattoos and a "big personality".[18] According to the director, Day was cast based on his performance in an episode of It's Always Sunny in Philadelphia: "He comes out with a stick, and he has a monologue about what it is to hunt the rats in the basement. It was very funny, but he was coming from character. He was not doing big stuff, he was, like, really mourning and lamenting his job, you know, how inhuman it is. And I thought, 'This guy is great at shading and comedy.' There are moments in the movie where he delivers them both."
A scientist studying the Kaijus alongside Geiszler. According to del Toro, Gottlieb is a "tweed-wearing, English, phlegmatic introvert that never leaves the lab". The modest Gottlieb resents Geiszler's arrogance and radical behavior; the duo echo the film's theme of incompatible people functioning together when the time comes.[18]
A black marketeer who makes a living dealing Kaiju organs. Perlman stated, "I actually think this character was designed to be played by another ethnicity other than myself. And somewhere along the way, [del Toro] had the notion, 'Wouldn't it be interesting to turn this guy into more of an invention.' So, in other words, somebody takes on a persona that completely sounds like he's someone else and acts like he's someone else but he's really, you know, as you see me. That added a dimension to the larger-than-life aspect of the character... I'm playing somebody very close to my own origins. But a completely made-up persona... which makes him even more full of shit. And I think that's the charm of the guy—that he's kind of elusive, hard to pin down.[19] Pacific Rim marks Perlman's fifth appearance in a del Toro film. The director stated: "I think the moment you have a guy that is called Hannibal Chau and Ron shows up, and he's from Brooklyn and he's been selling black market organs, you know the whole story... That's all I need to know. If it's any other actor, there's a lot more explaining to do. But when Ron comes in with that look, you can make your own story and it'll be as compelling as anything I can invent. You do a little weightlifting with the audience."[10] The character took his name from Hannibal, his favorite historical figure, and Chau, his second-favorite Szechuan restaurant in Brooklyn.[15] Del Toro drew inspiration from Burt Lancaster's performance in Elmer Gantry when writing the character.[20]
An Australian Jaeger pilot considered the finest soldier left in the Resistance. He and his father pilot Striker Eureka, "the strongest and the fastest" Jaeger with 11 Kaiju kills, and make up the Resistance's "go-to team".[21] Kazinksy, a fan of science-fiction, was initially drawn by the film's concept, "My immediate reaction was 'Holy crap, that’s cool.' In the hands of somebody else, you might sit there and go, 'Well, this might be terrible,' but with Del Toro doing it, you kind of go, 'This is going to be amazing.'".[22]
  • Max Martini as Herc Hansen, Chuck's father and co-pilot. Kazinksy stated Martini hated the fact that he was cast as Chuck's father, being only 13 years Kazinksy's senior. However Kazinsky said they developed a bond while filming, "Because we were working so tight together, we would finish and then we would go out for dinner every night and we would go to the gym together on days off we had... The emotional scene toward the end with the father-son parting, it was very easy for me to play because I had grown to actually genuinely love Max as a man and as a friend." Kazinsky revealed that Herc and Chuck's pet bulldog was Del Torro's idea and said, "The dog’s name was Max, ironically, and we ended up using Max for so many things. The story was that Herc and Chuck have difficulty communicating, that they communicated via the dog, and all the love that they couldn’t show each other they would show the dog."[22]
  • Ellen McLain as Jaeger AI:
The voice of the Jaegers' artificial intelligence system.[23] Del Toro secured permission from Valve Corporation to cast McLain in homage to GLaDOS, her homicidal AI character in the Portal video games.[24] The director stated: "It was clear to me that we needed something beautiful in that voice. My daughter is my wingman, we had done co-op on Portal 2 for a long time and I did Portal 1 when it came out. It becomes ingrained in you, that voice. I didn't want to use her as a negative force of evil. I called Valve and asked 'Can you give us the filter?' so we went full GLaDOS for the first commercial, but I thought it was too much. If you're a gamer, it's too distracting so we created our own GLaDOS 2.0 filter that's a little less full-on."[25]

Additionally, Robert Maillet and Heather Doerksen play Aleksis and Sasha Kaidanovsky, pilots of Russia's Cherno Alpha Jaeger; Charles Luu, Lance Luu and Mark Luu portray the Wei Tang triplets, pilots of China's Crimson Typhoon Jaeger; Clifton Collins, Jr. plays Tendo Choi, a Chinese-American Jaeger technician; Diego Klattenhoff plays Yancy Becket, Raleigh's original co-pilot and brother; and Santiago Segura plays an aide to Hannibal Chau.[26] Producer Thomas Tull makes a cameo appearance.[27]

Themes

In the film, a Jaeger's neural load is too much for a single pilot to handle alone, meaning they must first be psychically linked to another pilot—a concept called "Drifting". When pilots Drift, they quickly gain intimate knowledge of each other's memories and feelings, and have no choice but to accept them; del Toro found this concept's melodramatic potential compelling. The director expressed his intention that the empathy metaphors extend to real life: "The pilots' smaller stories actually make a bigger point, which is that we're all together in the same robot [in life]... Either we get along or we die. I didn't want this to be a recruitment ad or anything jingoistic. The idea of the movie is just for us to trust each other, to cross over barriers of color, sex, beliefs, whatever, and just stick together." Del Toro acknowledged this message's simplicity, but said he would have liked to have seen adventure films with similar morals when he was a child.[20] The film's ten primary characters all have "little arcs" conducive to this idea; del Toro stated: "I think that's a great message to give kids... 'That guy you were beating the shit out of ten minutes ago? That's the guy you have to work with five minutes later.' That's life... We can only be complete when we work together." The director noted that Hellboy and The Devil's Backbone told the same message, though the latter conveyed it in a very different way.[28]

The film centers on the relationship between Becket and Mori, but is not a love story in a conventional sense. Both are deeply damaged human beings who have decided to suppress their respective traumas. While learning to pilot their Jaeger, they undergo a process of "opening up", gaining access to each other's thoughts, memories and secrets. Their relationship is necessarily one of respect and "perfect trust". Hunnam commented that the film is "a love story without a love story. It's about all of the necessary elements of love without arriving at love itself".[13][29] Both Becket and Mori have suffered profound personal tragedies; one of the script's central ideas is that two damaged people can metaphorically "become one", with their figurative missing pieces connecting almost like a puzzle.[30] Del Toro emphasized the characters' emotional intimacy by filming their training fight scene the way he would a sex scene.[31]

Del Toro, a self-described pacifist, avoided what he termed "car commercial aesthetics" or "army recruitment video aesthetics", and gave the characters Western ranks including "marshal" and "ranger" rather than military ranks such as "captain", "major" or "general". The director stated: "I avoided making any kind of message that says war is good. We have enough firepower in the world."[14] Del Toro wanted to break from the mass death and destruction featured in contemporary blockbuster films, and made a point of showing the streets and buildings being evacuated before Kaiju attacks, ensuring that the destruction depicted is "completely remorseless". The director stated: "I don't want people being crushed. I want the joy that I used to get seeing Godzilla toss a tank without having to think there are guys in the tank... "What I think is you could do nothing but echo the moment you're in. There is a global anxiety about how fragile the status quo is and the safety of citizens, but in my mind—honestly—this film is in another realm. There is no correlation to the real world. There is no fear of a copycat Kaiju attack because a Kaiju saw it on the news and said, I'm going to destroy Seattle. In my case, I'm picking up a tradition. One that started right after World War II and was a coping mechanism, in a way, for Japan to heal the wounds of that war. And it's integral for a Kaiju to rampage in the city."[32]

Production

Development

In February 2006, it was reported that Guillermo del Toro would direct Travis Beacham's fantasy screenplay, Killing on Carnival Row, but the project never materialized.[33] Beacham conceived Pacific Rim the following year. While walking on the beach near Santa Monica Pier, the screenwriter imagined a giant robot and a giant monster fighting to the death. "They just sort of materialized out of the fog, these vast, godlike things." He later conceived the idea that each robot had two pilots, asking "what happens when one of those people dies?" Deciding this would be "a story about loss, moving on after loss, and dealing with survivor's guilt", Beacham commenced writing the film.[34][35]

On May 28, 2010, it was reported that Legendary Pictures had purchased Beacham's detailed 25-page film treatment, now titled Pacific Rim.[36] When del Toro met with Legendary Pictures to discuss the possibility of collaborating with them on a film, he was intrigued by Beacham's treatment—still a "very small pitch" at this point.[37] Del Toro signed on to produce and co-write the film.[7][25]

Del Toro drew inspiration from Francisco Goya's The Colossus, and hopes to evoke the same "sense of awe" with the film's battles.[37]

In June 2011, del Toro was set to begin production on a live-action adaptation of H. P. Lovecraft's At the Mountains of Madness. Tom Cruise and James Cameron had signed to star and produce respectively.[38] However, Universal cancelled the project, as del Toro was unwilling to compromise on the $150 million budget and R rating.[39] The director later reflected, "When it happened, this has never happened to me, but I actually cried that weekend a lot. I don't want to sound like a puny soul, but I really was devastated. I was weeping for the movie."[3] The project collapsed on a Friday, and del Toro signed to direct Pacific Rim the following Monday.[7] Charlie Hunnam and Rinko Kikuchi were cast in the lead roles. Tom Cruise was considered for a key part in the film, but was replaced by Idris Elba.[40] Ron Perlman, who has worked with del Toro on several occasions, was confirmed to have joined the cast on November 17, 2011.[41]

Del Toro collaborated with Beacham on the screenplay, and is credited as co-writer. The script also received an uncredited rewrite from Neil Cross, who previously created the Elba-starring drama series Luther and wrote the del Toro-produced horror film Mama.[42] Patrick Melton and Marcus Dunstan were also enlisted to perform uncredited rewrites when their spec script Monstropolis caught the filmmaker's attention.[43]

Principal photography

Filming began on November 14, 2011[44] and continued in Toronto into April 2012.[45] Del Toro gave an update after the second week on filming finished.[46] The film was referred to as Silent Seas and Still Seas during production.[47]

Del Toro had never shot a film in less than 115 days, but had only 103 to shoot Pacific Rim. In order to achieve this, del Toro scheduled a splinter unit that he could direct early in the day, before main unit, and on his off-days. The director worked 17 to 18 hours a day, seven days a week, for much of the schedule. Del Toro took a new approach to directing actors, allowing "looser" movements and improvisation; the director maintained tight control over the production: "Everything, 100% goes through me sooner or later. I do not delegate anything. Some people like it, some people don't, but it has to be done that way."[48]

The film was shot using Red Epic cameras.[49] At first Guillermo del Toro decided not to shoot or convert the film to 3D, as the effect would not work due to the sheer size of the films robots and monsters, explaining; "I didn't want to make the movie 3D because when you have things that big... the thing that happens naturally, you're looking at two buildings lets say at 300 feet [away], if you move there is no parallax. They're so big that, in 3D, you barely notice anything no matter how fast you move... To force the 3D effects for robots and monsters that are supposed to be big you are making their [perspective] miniaturized, making them human scale."[50] It was later announced that the film would be converted to 3D, with the conversion taking 40 weeks longer than most. Del Toro said: "What can I tell you? I changed my mind. I'm not running for office. I can do a Romney."[51]

Del Toro cut approximately an hour of material from the film. The unused footage explored the characters and their arcs in greater detail, but the director felt it was necessary to strike a balance, stating: "We cannot pretend this is Ibsen with monsters and giant robots. I cannot pretend I'm doing a profound reflection on mankind." Each character's arc was edited down to its minimal requirements.[28] The director wanted to keep the film around two hours, particularly for younger viewers. Alejandro González Iñárritu and Alfonso Cuarón helped with the editing; Iñárritu removed ten minutes of footage, while Cuarón removed "a few minutes" and rearranged several scenes.[52]

Design

Del Toro wanted to "honor" the kaiju and mecha genres while creating an original stand-alone film, something "conscious of the heritage, but not a pastiche or an homage or a greatest hits of everything". The director made a point of starting from scratch, without emulating or referencing any previous examples of those genres. He cautioned his designers not to turn to films like Gamera, Godzilla, or The War of the Gargantuas for inspiration, stating: "I didn't want to be postmodern, or referential, or just belong to a genre. I really wanted to create something new, something madly in love with those things. I tried to bring epic beauty to it, and drama and operatic grandeur."[4][53] Rather than popular culture, he drew inspiration from works of art such as Francisco Goya's The Colossus and George Bellows's boxing paintings.[37][54] The film's designers include Wayne Barlowe, Oscar Chichoni, monster sculptors David Meng and Simon Lee, and Hellboy II and The Hobbit designer Francisco Ruiz Velasco.[37]

Forty Kaiju were designed, but only nine of these appear in the film; the filmmakers "did an American Idol on them" to select the best.[55] In designing Kaijus, the film's artists frequently drew inspiration from nature rather than other works. The director commented: "Kaijus are essentially outlandish in a way, but on the other hand they come sort of in families: you've got the reptilian kaiju, the insect kaiju, the sort of crustacean kaiju... So to take an outlandish design and then render it with an attention to real animal anatomy and detail is interesting."[56] Del Toro avoided making the Kaijus too similar to any Earth creatures, instead opting to make them otherworldly and alien.[57] Del Toro called the film's Kaijus "weapons", stating that they are "the cleaning crew, the cats sent into the warehouse to clean out the mice." Certain design elements are shared by all the Kaijus; this is intended to suggest that they are connected and were designed for a similar purpose.[25] Each Kaiju was given a vaguely humanoid silhouette to echo the man-in-suit aesthetic of early Japanese kaiju films.[58] While del Toro's other films feature ancient or damaged monsters, the Kaijus lack scars or any evidence of prior culture, indicating that they are engineered creations rather than the result of an evolutionary system.[57]

Knifehead, the first Kaiju to appear in the film, is a tribute to the plodding kaiju of 1960s Japanese films, and is intended to look almost like a man in a rubber suit; its head was inspired by that of a goblin shark.[28] Leatherback, the bouncer-like Kaiju which spews electro-magnetic charges, is a favorite of del Toro, who conceived it as a "brawler with this sort of beer belly"; the lumbering movements of gorillas were used as a reference.[59] The Kaiju Otachi homages the dragons of Chinese mythology. The director called it a "Swiss army knife of a Kaiju"; with almost 20 minutes of screen time, it was given numerous features so the audience would not tire of it. The creature moves like a Komodo dragon in water, sports multiple jaws and an acid-filled neck sack, and unfurls wings when necessary.[60] It is also more intelligent than the other Kaijus, employing eagle-inspired strategies against the Jaegers.[59] Onibaba, the Kaiju that orphans Mako Mori, resembles a fusion of a Japanese temple and a crustacean.[59] Slattern, the largest Kaiju, is distinguished by its extremely long neck and "half-horn, half-crown" head, which del Toro considered both demonic and majestic.[59]

Gipsy Danger, the American Jaeger, was based on the shape of New York City's Art Deco buildings, such as the Chrysler Building and the Empire State Building, but infused with John Wayne's gunslinger gait and hip movements. Cherno Alpha, the Russian Jaeger, was based on the shape and paint patterns of a T-series Russian tank, combined with a giant containment silo to give the appearance of a walking nuclear power plant with a cooling tower on its head.[60] Crimson Typhoon, the three-armed Chinese Jaeger, is piloted by triplets and resembles a "medieval little warrior"; its texture evokes Chinese lacquered wood with golden edges.[59] Striker Eureka, the Australian Jaeger, is likened by del Toro to a Land Rover; the most elegant and masculine Jaeger, it has a jutting chest, a camouflage paint scheme recalling the Australian outback, and the bravado of its pilots.[59]

The film's costumes were designed by Shane Mahan and Kate Hawley, who spent several months on the costumes of the Jaeger pilots. The Russian pilot suits are old-fashioned and echo cosmonaut space suits.[54]

Visual effects

Del Toro used classic art such as Hokusai's The Great Wave off Kanagawa as a reference for the film's ocean battles.

Industrial Light & Magic was chosen to create the visual effects for Pacific Rim. Del Toro hired Oscar winners John Knoll and Hal T. Hickel, both known for their work on the Star Wars prequel trilogy and the Pirates of the Caribbean films. Legacy Effects was hired to do the special and practical effects on the film. Shane Mahan, known for creating the armored suits for Iron Man, was hired on as effects supervisor. John Rosengrant was also brought in for his work on Real Steel. Oscar winner Clay Pinney, known for his work on Independence Day and Star Trek, was also brought on board.

Del Toro conceived the film as an operatic work: "That was one of the first words I said to the entire team at ILM. I said, 'This movie needs to be theatrical, operatic, romantic.' We used a lot of words not usually associated with high-tech blockbusters ... We went for a very, very, very, very saturated color palette for the battle for Hong Kong. I kept asking John to tap into his inner Mexican and be able to saturate the greens and the purples and the pinks and the oranges." The classic Japanese woodblock print The Great Wave off Kanagawa by Hokusai was a common motif in the ocean battles; Del Toro recalled, "I would say 'Give me a Hokusai wave' ... we use the waves and weather in the movie very operatically."[61] The director asked that Knoll not necessarily match the lighting from shot to shot: "It's pretty unorthodox to do that, but I think the results are really beautiful and very artistically free and powerful, not something you would associate with a big sci-fi action movie." Del Toro considers the film's digital water its most exciting visual effect: "The water dynamics in this movie are technically beautiful, but also artistically incredibly expressive. We agreed on making the water become almost another character. We would time the water very precisely. I'd say 'Get out of the wave [on this frame].'"[61]

Video game

Main article: Pacific Rim (video game)

A game loosely based on the film was announced. Published and developed by Yuke's, the game was released along with the movie on July 12, 2013.[62]

Reliance Games is developing a Pacific Rim tie-in game for iOS and Android devices.[63]

Music

Main article: Pacific Rim (soundtrack)

The film's score was composed by Ramin Djawadi. Del Toro selected Djawadi based on his work on Prison Break, Iron Man, and Game of Thrones, stating: "His scores have a grandeur, but they have also an incredible sort of human soul." The director also stated that some Russian rap would be featured in the film.[64]

The soundtrack was released on digital download from Amazon on June 18, 2013 and CD June 25, 2013.[65] The physical version of the soundtrack was released on July 9, 2013, three days before the theatrical release of the film itself.[66]

The ending theme is "Drift", performed by Blake Perlman featuring Rza.[67]

Marketing

On November 28, 2012, the official film website premiered alongside two viral videos—one depicting the initial Kaiju attack as captured by a handheld camera.[68] Blueprints depicting the designs for the Jaeger machines were also released online.[68]

On June 5, 2013, the graphic novel Pacific Rim: Tales from Year Zero was released. Written by Travis Beacham and featuring cover art by Alex Ross, Tales from Year Zero serves as an introductory prologue to the film, and is set twelve years before its events.[69][70]

On July 2, 2013, a viral video was released in which Ron Perlman's character, Hannibal Chau, advertises his fictional Kaiju organ dealership, Kaiju Remedies.[71]

A novelization by Alex Irvine will be released on July 16, 2013.[72]

NECA released action figures of the Jaegers and Kaijus.[73][74] The company will release an 18" Gipsy Danger figure in August 2013.[75]

Release

Pacific Rim was initially expected to reach theaters in July 2012. However, Warner Bros. decided to move the film's release date back to May 10, 2013. In March 2012, it was announced that the film would be released on July 12, 2013.[76]

Reception

Critical response

Pacific Rim received positive reviews from critics. Review aggregation website Rotten Tomatoes gives the film a score of 71% based on 213 reviews, with an average rating of 6.7 out of 10. The site's consensus reads: "It may sport more style than substance, but Pacific Rim is a solid modern creature feature bolstered by fantastical imagery and an irresistible sense of fun."[77] Metacritic gives a rating of 64 out of 100 based on reviews from 48 critics, which indicates "generally favorable" reviews.[78]

The Daily Telegraph's Robbie Collin awarded the film five stars out of five, likening the experience of watching it to rediscovering a favorite childhood cartoon. He praised del Toro for investing his own affection for the genre and sense of artistry into the project in such a way that the viewer found themselves immersed in the film rather than watching from afar, noting the director had catered to younger and older audiences alike and expressed surprise that the film could rise above the sum of its parts.[79] Todd McCarthy of The Hollywood Reporter gave a positive review, describing the film as the sum of the potential every monster film had ever tried to fulfill.[80] Lou Lumenick of The New York Post gave the film four stars out of four, and said it had "no shortage of brains, brawn, eye candy, wit and even some poetry", praising the "clean and coherent" action sequences and the "terrific chemistry" between Hunnam and Kikuchi.[81] Drew McWeeny of HitFix highlighted other aspects of the film, paying particular attention to the production and art design. He also praised the cinematography for "perfectly capturing" the film, and described the score as "ridiculously cool".[82] Rolling Stone's Peter Travers called the film "the work of a humanist ready to banish cynicism for compassion", saying that del Toro "drives the action with a heartbeat".[83] Keith Uhlich of Time Out called the film "pure, pleasurable comic-book absurdity", but noted that del Toro had lent the proceedings a "plausible humanity" lacking in most of summer 2013's destruction-heavy blockbusters. He said the Kaijus' civilian victims make a "palpably personal impression", deeming one scene with Mako Mori "as mythically moving as anything in the mecha anime, like Neon Genesis Evangelion, that the director emulates with expert aplomb."[84] The Village Voice's Stephanie Zacharek called it "summer entertainment with a pulse", praising its "dumbly brilliant" action and freedom from elitism, but noted the story is predictable and suggested del Toro's time would be better spent on more visionary films.[85] Angela Watercutter of Wired called it the "most awesome movie of the summer", a "fist-pumping, awe-inspiring ride", and opined that its focus on spectacle rather than characterization "simply does not matter" in the summer blockbuster context.[27] Richard Roeper gave the film a B, commenting that either the Jaegers or kaijus "can take down any of the Transformers."[86] Leonard Maltin gave the film two-and-a-half out of four stars, calling it "three-quarters of a really good movie that doesn't know when to quit."[87]

The Guardian's Andrew Pulver was less enthusiastic, calling the film a mix of "wafer-thin psychodrama" and "plot-generator dialogue" .[88] Time's Richard Corliss said the action was let down by "inert" drama, describing the film as "45 minutes of awesome encased in 90 minutes of yawnsome."[89] Justin Chang of Variety criticized it as loud and lacking the nuance and subtlety of del Toro's previous films.[90] Slant Magazine's Ed Gonzalez, who said the film lacked poignancy, compared it to a video game: "a stylish but programmatic ride toward an inevitable final boss battle".[91] The Wrap's Alonso Duralde criticized the choice to set most battles at night or during the rain, feeling it detracted from the action, and said the comic relief actors—Day, Gorman, and Perlman—stole the film from the less interesting leads.[92] Jordan Hoffman of Film.com identified Hunnam as the weak link in the cast, calling him a "charisma black hole".[93] Giles Hardie of The Sydney Morning Herald was particularly critical of the film, awarding the action sequences "five IQ points out of five" as he described the film as an hour and twenty minutes of fight sequences vaguely connected by ten minutes of story.[94]

Director Rian Johnson praised the film,[95] as did Japanese game director Hideo Kojima, who called it the "ultimate otaku film" and stated he "never imagined [he] would be fortunate enough to see a film like this in [his] life".[96]

Box office

As of July 14, 2013, Pacific Rim has grossed $37,285,325 in North America, and $53,000,000 in other countries, for a worldwide total of $90,285,325.[2]

Pacific Rim grossed $3.6 million from Thursday night showings, 23 percent of which came from IMAX showings. It then faced tough competition from Grown Ups 2 and ultimately fell behind it on opening day, earning $14.6 million.[97] The film reached the #3 spot during the opening weekend with $37.2 million, behind Despicable Me 2 and Grown Ups 2. This is the highest ever opening for a film by del Toro, surpassing Hellboy II: The Golden Army. Around 50 percent of tickets were in 3D, which makes it the highest 3D share of 2013.[98]

Potential sequel

In July 2012, del Toro discussed the possibility of making a Pacific Rim sequel. "We always leave ideas that were in the first draft as you go along. You know, either a set piece that was great but too expensive, an idea that was really bright, but it couldn't quite fit the structure... so we have a little stash of stuff we wanted to do that we didn't get to do. So if that's a possibility, A) I would be very happy to do a sequel, but B) a lot of these ideas, set pieces and all that, actually have in them a really good seed for a sequel."[99]

On December 4, 2012, Legendary Pictures announced that it had selected Pacific Rim co-writer Travis Beacham to write the sequel, along with del Toro, though there was no comment as to whether del Toro would return to direct the second film.[100]

At WonderCon 2013, del Toro expressed enthusiasm for a potential crossover between Pacific Rim and Godzilla—another Legendary Pictures kaiju film—but stressed that no such plans were in place.[101]

In July 2013, del Toro discussed the sequel, stating: "The main idea that we're bouncing off is the fact that Newt drifted with a Kaiju brain, and all Kaiju brains are connected. We say that. They are like a hive mentality. So, you know, draw your own conclusions."[102] The director has also stated the sequel will feature "Gipsy 2.0", as well as a "merging of Kaiju and Jaeger".[103] it is good to see a sequel soon

See also

References

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