![]() One of the first casualties of this turn for the worse is Yancy Becket (Diego Klattenhoff), the brother of Raleigh (Charlie Hunnam), who watches in horror as his older sibling is ripped out of the control center of their Jaeger and into the glowing, gaping maw of a thunderous beast. At first, the Jaegers lay waste to the creatures but eventually the monsters start learning human strategies and adopt tricks to counter them. Humanity’s response is to join together, different countries sharing technologies and materials in order to build equally humongous humanoid robots known as Jaegers, controlled from within the giant heads of the mechanisms by two mind-melded pilots working in tandem to combat them. The creatures, known as Kaiju (Japanese for “big monster”), begin coming with terrifying rapidity. ![]() In the near future, a giant space time rift opens somewhere deep in the Pacific that allows these enormous, horrifying creatures to emerge out of the depths and wreak havoc on populated coastal cities. The story is straight out of the Japanese monster movies of the ’50s and ’60s. Like iconic Japanese children’s filmmaker Hayao Miyazaki, his films are filled with the etched details of his young, impressionable mind, and it is in those precious minutiae that his action films very often rise above their genres into something a good deal more interesting and emblematic. Scale, from impossibly towering creatures and robots to the minute cultural impacts of their conflict, is the overarching thematic element in this wildly entertaining action flick.ĭel Toro, whose previous work includes the comic book-based Hellboy pictures as well as the sublime Pan’s Labyrinth and The Devil’s Backbone, is an extremely gifted visionary artist who, even in his more adult-minded fare, never loses his sense of childhood imagination, thrilling and terrifying. It is this sense of peculiar scale - from much larger-than-life behemoths to that tiny comic detail - that director Guillermo del Toro infuses in this film, a kind of chaotic whirl of different action genres and graphic novel components. The resultant titanic force then comes to rest, softly tippling the steel-ball perpetual motion machine sitting inconspicuously on the desk, causing the balls to gently knock back and forth. The hand rips through a giant commercial high-rise, laying waste to everything in its path until it comes to a hard stop right at the edge of someone’s long-deserted cubicle. At one point during the combat, the monster drives the robot off-balance enough so that it has to reach a massive, mechanical hand behind itself in order to keep from toppling over. The two combatants trade enormous blows, raining down debris over the ruined, littered streets. High above the shattered streets of Hong Kong, a giant, reptilian monster does vicious battle with an equally massive robot, helmed by two human beings situated in the head of the machine.
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