The biggest problems of the blockbuster come when the corporate framework is too noticeable, leaving a product devoid of soul and also of possible rough edges, eliminating some of its most bizarre aspects so that they are not the object of ridicule. And given that many of these great movies move in realms of crazy action and science fiction, these attempts at make fantastic without fantasy.
So while many appreciate the more modest and personal efforts he’s trying to make, it’s a shame that the modern blockbuster doesn’t have a figure like Guillermo Del Toro more in mind. or that this figure does not seem to have much room in the panorama free of discomforts and guided in a brainless way by the reactions in the test passes. An imposition of the lowest common denominator against which films like ‘Pacific Rim’ resist.
The apocalypse is canceled
The Mexican director does one of his most monstrous and colossal films, bringing together traditions of the Japanese show within the codes of the American blockbuster. The kaijus and the mechas have an epic confrontation to decide the fate of humanity, and from now on it can be seen on HBO Max, being one of its most popular additions.
Coming from other parts of the galaxy, a group of gigantic creatures begin to appear from the depths of the ocean, causing havoc in different cities around the world. The conditions of the planet, charged with environmental toxicity and elevated temperatures due to climate change, offer a perfect new habitat for the kaijus, and humanity must show resistance if it is not to be destroyed and replaced.
For this they have the Jaegers, a series of giant robots controlled by pairs of pilots who synchronize their minds and movements through a neural bridge. When alien attacks begin to occur more frequently, a retired pilot (Charlie Hunnam) must re-enlist to give humanity last chance to save yourself.
‘Pacific Rim’: Giant Craft
Del Toro’s magic helps make an elaborate handicraft look simple performed on a hypertrophied scale. ‘Pacific Rim’ could remain a mere noisy show of monsters against robots, as we could see in the remarkably inferior sequel that was made without the director. But it is in small details where the soul deposited in this macro-project can be appreciated, letting the human drama breathe (although Hunnam is not entirely capable of selling it, Idris Elba does know how to convey urgency) and using the codes of the Asian country’s destruction films well in which it is inspired.
Nor does he renounce a crazy and hilarious world construction, not shying away when it comes to showing nonsense such as a fetish subculture with monster parts and a black market that exploits them. Decisions that shouldn’t make it past the cutting room if a conservative producer is at the helm, but del Toro gets away with putting together a hard-hitting, characterful film, with big-time action on a grand scale and epic music by Ramin Djawadi. . One of the best science fiction works of the last decade.
In Espinof | The best science fiction movies of all time