Called Stacker Pentecost, his very name is resonant enough to make you shake even without the formidable presence behind it of Idris Elba, shortly to play Nelson Mandela in The Long Walk to Freedom. Then comes that familiar apocalyptic moment when a great leader, a former four-star general, is given "one last chance". We also learn, for those who like moral explanations, that these monsters thrive in our polluted atmosphere, and that they're controlled, as they have been for millennia, by malevolent colonial powers. They're manned by pairs of operators who need to build a neural bridge between their minds so they can work together in a way that the machine can mimic and replicate in battles against the Kaiju.Īfter a spectacular fight in which large boats are flung around like corvettes in the Lilliputian navy, the Kaiju appear to be winning, and some years later the Earth is moving to the desperate Plan B, which means investing everything in a giant containing wall around the Pacific rim. Giant robots known as Jaegers were created, each the size of the Statue of Liberty. Some seven years earlier creatures known as Kaiju, the size of tower blocks and far less friendly than King Kong, slipped out of Pacific troughs due to shifting tectonic plates and began setting about states bordering the ocean. The opening narration tells us that for too long we've been looking to the heavens in awed anticipation of visitors or invaders from above when in fact we should have been keeping an eye on gateways to hell that admit unwanted strangers from below. Pacific Rim is a war movie set in a near future that resembles in its combination of high technology with cultural and social dilapidation the grim worlds to come in Alien and Blade Runner.
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I remember my own children, then aged 10, eight and six lapping up Where Eagles Dare back in 1969, the same year they also loved The Valley of Gwangi, the British monster movie by the great special effects maestro Ray Harryhausen, the co-dedicatee of Pacific Rim along with Ishiro Honda, who made the series of Japanese monster flicks that began in the 1950s with Godzilla and Rodan. Indeed if you look at the 15 pictures he'd made after Cleopatra (rereleased this week to mark its 50th anniversary), you can see his point. He said it was far too long since he'd made a picture that his own children could (or might want to) see. Exactly the same honest claim was made by Richard Burton when explaining, if explanation was needed, why he was making Where Eagles Dare back in the 1960s. Pacific Rim is a holiday blockbuster, a $180m bag of popcorn as unpretentious as it is expensive, designed, del Toro says, for family outings, his own included.
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