PACIFIC RIM

US, 2013, 130 minutes, Colour.
Charlie Hunnam, Idris Elba, Rinko Kikuchi, Clifton Collins Jr, Charlie Day, Burns Gorman.
Directed by Guillermo del Toro.

Quite an overwhelming experience of a futuristic, science-fiction tale. It should have all fans of this kind of movie experience and extravaganza quite excited.

The film is set in the future, at least for engineering companies to be able to build the giant size Robocop-looking encasements for the human hunters of the giant size monsters who have appeared to overcome and, even, take over the world. It must be in the long-term future. Even so, there is a picture of President Obama addressing people on the television!

The opening of the film moves fairly swiftly. We are informed about the break in the tectonic plates, the emergence from out of the depths of the oceans, these gigantic monsters. And we see them do violence on a range of cities in the Pacific rim. Interestingly, perhaps because of the special effects, the creature attacking Sydney moves comfortably between the Opera House and the Harbour Bridge. The damage that they cause is enormous, but we are spared seeing the destruction of our icons. One is tempted to use the word ‘jaw-dropping’ to describe the special effects, the intricacy, the detail, pace, editing and the overwhelming impact, but ‘jaw-dropping’ would be something of a cliché.

One of the temptations while watching the film is to wonder what movies were influencing the screenwriter and the director. The immediate thought is Transformers, big and loud (but with much more thought behind it!). Robocop has been mentioned already. And, of course, the giant monsters immediately suggest Godzilla. And at the end, in the depths of the sea, it is something of The Core.

Actually, the idea of the creatures attacking humans for dominance is really a variation on alien attack and The War of the Worlds, the creatures coming from down there rather than up and out there.

What is the world to do? The good thing is that governments put their differences aside and collaborate. This is just as well as the Robocop-looking armor that they build would cost zillions. But they build them, train people to go inside, have a process whereby their minds are linked and unified, put them in the machine whereby they stomp out to do battle with the monsters. Again the effects are often astounding.

There is a very a serious-looking commander, played by Idris Elba. He has previously been a fighter and is strictly in control of the battle. However, after some years, the authorities want to close down his program. Fortunately, there is an enormous (enormous being an understatement) for this huge set, where the new machines are built and fighters trained as well as having a vast technological communications space. This enables him to utter quite a line: ‘We’re cancelling the apocalypse.’

One of the early fighters is played by Charlie Hunnam, who worked with his brother, but who was killed by a monster. Shattered, the surviving brother goes to work on construction but is recruited to join the new program. His potential partner is a young woman, played by Rinko Kikuchi who was so effective in Babel. There is a powerful scene where the two unite their minds, but the experience overwhelms as she is controlled by her memories of being threatened as a little girl by a monster and her terror. However, we know in our heart of hearts, that she is going to be part of the grand finale to stop the monsters. A spoiler: she is.

Meanwhile there are two scientists, disagreeing with each other, one a practical person, the other theoretical, a kind of odd couple humorous duo. Burns Gorman is overly eccentric as the theorist. Charlie Day overacts (acting is too complimentary a word), and gets into frantic situations, mind joining with a monster, seeking out illegal dealers in monster parts, led by an over-comically sinisteer Ron Perlman. They compensate for the seriousness of Idris Elba.

Oh, and there are two Australian characters, father and son, father played by an American actor, son played by British actor. The son is surly, antagonistic, but comes around. The father is earnest, very supportive of the projects, with acquired flat Australian vowels, saying that the danger is in ‘Category Foive’!

It all builds up to the final confrontation, dangers under the sea, graphic battles, and a final matinee-like holding-of-breath climax.

For those who enjoy these shows, it is certainly one of the best of its kind. And it was directed by Guillermo Del Toro, the Mexican director who moves easily between arthouse classics like The Devil’s Backbone and Pan’s Labyrinth and this kind of science-fantasy like Cronos and Hellboy.

1. A disaster film? A menace film? Fight back? Apocalypse for earth and humans?

2. The work of the director, his art house films and fantasy, his science-fiction and fantasy films? What if …? Humans conquering aliens?

3. The background of the War of the Worlds, aliens from the deep, Godzilla, Japanese manga stories? Their aims, confrontations, wars and battles, over the years?

4. The special effects, especially for destruction, the robotic machines? The technology and control of the machines? Processes? The monsters? The ocean and underwater photography? The stunt work? The musical score?

5. The influences on the story: Transformers, Godzilla, Manga stories, Robocop, The Core?

6. The basic plot, the introduction and the explanations of the situation on earth, the Pacific rim, the destruction of San Francisco, Manila, Sydney? Government response? Over the years? Government co-operation, constructing the machines, the battles?

7. The machines, gigantic size, the two humans inside, sharing minds and memories, the visuals of the memories, bonding together?

8. The background of the two brothers, the link between them, training, unifying within the machine, the control, the fight, one dying, the other surviving, the effect on him, working in the construction industry, on the high building frameworks, hard-hats?

9. The years passing, the commander, in himself, dapper, calm, controlled when angry, his leadership, the success over the years, the meeting and television interview, closing his enterprise down? His going to Hong Kong? The vast plant and the advanced technology? The building of the machines?

10. The two scientists? The characters, interactions, different scientific approaches, investigations, contributions? Their rivalry? How humorous? How irritating? Being proven right? Each being right?

11. The interludes with Hannibal Chau? His history, enterprise, parts and sales? Raleigh and his approach, the scientists, Geiszler and his dealings, dangers? The humour with Hannibal Chau and his final appearance?

12. Raleigh, working for use on construction, the return, the encounter with Mako, with the commander? Going into training, overcoming his sadness at his brother’s death?

13. Mako, her background, training, personality, relationship with the commander, his being a father-figure? Encountering Raleigh? Raleigh? Their sessions in training? Her wanting to be in the final confrontation? With Raleigh, the merging of memories, her being a little girl, the dangers, the monster, her fears, the rescue? Her experiencing them again? Raleigh sharing them with her and understanding her?

14. The other members of the crew, the Australian father and his son, the son with the touch of the rebel, going to do his duty, his death? The stoic reaction of the father? The past rivalry with Raleigh?

15. Preparations for the confrontation? The commander and his control? The menace from the water, from the deep, the cracks and the plate, the emerging of the creatures? The machine going into action? With both Raleigh and Mako?

16. Action under the sea, the dangers, the threats to each of them? The machine being wrecked? Mako surfacing? Raleigh and his attempts, finally succeeding?

17. The team and control, the commander, his decisions, sacrificing himself? Heroics, and the world safe - for the time being?