Realização:
Guillermo del ToroCâmara:
Guillermo NavarroMúsica:
Ramin DjawadiElenco:
Charlie Hunnam, Idris Elba, Rinko Kikuchi, Charlie Day, Max Martini, Robert Kazinsky, Clifton Collins Jr., Robert Maillet, Diego Klattenhoff, Ron Perlman (mais)Streaming (2)
Sinopses(1)
When legions of monstrous creatures, known as Kaiju, started rising from the sea, a war began that would take millions of lives and consume humanity's resources for years on end. To combat the giant Kaiju, a special type of weapon was devised: massive robots, called Jaegers, which are controlled simultaneously by two pilots whose minds are locked in a neural bridge. But even the Jaegers are proving nearly defenseless in the face of the relentless Kaiju. On the verge of defeat, the forces defending mankind have no choice but to turn to two unlikely heroes - a washed up former pilot (Charlie Hunnam) and an untested trainee (Rinko Kikuchi) - who are teamed to drive a legendary but seemingly obsolete Jaeger from the past. Together, they stand as mankind's last hope against the mounting apocalypse. (texto oficial do distribuidor)
(mais)Vídeos (12)
Críticas (16)
Uma megalomania cinematográfica que não é sem relevância e exagerada, mas que é a própria essência do conceito alvo, o sangue no coração do filme. Um modelo de enredo simples, efeitos visuais perfeitos, sequências de ação física de brutal (o porto de Hong Kong reina supremo), visuais elaborados tanto de mecha-robots como de monstros marinhos. Admiração equilibrada com o poder épico dos antagonistas (os japoneses vão ca*ar-se). Mais o entusiasmo de Guillermo pelo muco, parasitas da pele e Ron Perlman. Os personagens e as suas interações, contudo, não são nada especial e a ideia do dinossauro é espasmódica. É uma pena. 3D melhor do que o habitual (mas ainda apenas convertido a partir de 2D em pós-produção). E é uma coincidência que o cientista louco pareça totalmente a J.J. Abrams?
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Del Toro brings us something that has been done before. After all, big cities have already been devastated by The Avengers, Transformers, or Superman to the point that falling skyscrapers are becoming a bit of a stereotype. The director tries to add personality to it by providing some pretty clear action scenes, and by not going too far over the edge in terms of visual sweeps. On the other hand, into two hours he didn't cram in a single major character, a real character who could pull carry better than a jaeger pulling a tin can down the street. Idris Elba has charisma but drowns in pathetic speeches, and the rest of the ensemble is severely uninteresting - Ron Perlman is more of an iconic trademark than a functional character. It goes by quickly, but the most important and impressive scene is still the escape of little Mako from the kaiju through the empty street.
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One of my most anticipated films of the year turned out to be pretty weak! I’d been looking forward to Pacific Rim basically ever since the first reports. A war between giant human-controlled robots and giant sea monsters could be conceived in many ways, but I was hoping for a gritty and dark sci-fi bash with relentless apocalyptic atmosphere and massive and originally conceived battles (the first reports spoke of at least five giant battles, with each being shot in a different way). In short, I was hoping for something like the antithesis to the childish Transformers. If only. Pacific Rim is nothing but a generic popcorn movie for kids with jokes, shallow characters, clichés, and pathos. Even the action scenes don’t have much juice – and there aren’t enough of them (in the first half, the characters are just talking in hangars and it’s insufferable). Del Toro really only aimed for “the bar” – even the design of the monsters and the robots is not amazing. Squandered opportunity.
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Godzilla meets Transformers. Pacific Rim is the most honest of this summer’s blockbusters, as it doesn’t pretend to be anything it isn’t and avoids narrative feints and overlapping meanings in straightforwardly bringing very clear content to the term “high concept” (Monsters! Robots! And they’re really big!). (With respect to the anticipated hurricane of merchandising, the fetishisation of technology present in the film deserves special analysis – the characters repeatedly marvel at the power and size of the robots as the camera revels in their design in long shots, which are in some ways reminiscent of the presentation of the dinosaurs in Jurassic Park). The plot puts us in familiar positions as viewers, as it is composed of popular sci-fi and military motifs (Earth in peril, neural linking, clones, male rivalry, the best defence is offence). All it requires from us is that we somewhat unthinkingly and completely contentedly watch modified versions of Top Gun, Cloverfield, Independence Day and Hellboy (for connoisseurs, there is a bonus in the form of the Blade Runner-esque neo-noir visual aspect of Hong Kong and a rather inappropriate reference to the famous “nose” scene from Chinatown). Given that its marketing campaign made it very clear what it was going to be about (and that it wouldn’t be about much more than that), Pacific Rim’s lack of originality did pose an obstacle to my enjoyment of the pure entertainment that it provided. The predictability of the plot twists and the restricting of the human element (manifested in the hunky actors who, with the exception of Elba, are interchangeable and uncharismatic) to the necessary minimum – after all, the concept of the Jaeger is based on the “transformation” of humans into a multi-ton steel monster (or an analogy for the cooperative playing of action-oriented games) – make room for a visual and visceral action experience. The heavyweight matches are clear and varied to the extent possible, but they are mainly huge. It’s a dream come true for gamers and comic-book fans. Guillermo del Toro plays like a little boy on a grand scale. I enjoyed the film – not intellectually, but intensely – especially because of its imaginativeness and the sensory experience provided by the combination of the film’s incredible visual aspect and its rock soundtrack. 75%
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After watching this film, at first I said to myself that it was completely average. But then I went down another star as I thought of a lot of scenes where the logic of it was just too incomprehensible. Pacific Rim is a textbook example of a blockbuster. I don’t blame it for that, I even liked the camera and digital effects that Guillermo del Toro and his crew worked with. But let no one tell me, and now I’m going to spoil a bit, that the best warriors in those robots are brothers who, by coincidence, are on a routine mission in a sea grasped by a monster who immediately takes down one of them. I was also fascinated by how ten years later the other brother is offered to control a robot again and is considered an incredible fighter, which of course the other colleagues do not believe him at all. Plus, not a single actor fully convinced me to like him here, which is quite a fundamental issue, because Guillermo relies on the power of dialogues that do not work here at all in this regard. The only one worth it is Charlie Day as the crazy doctor. The rest is neither funny nor interesting, and the viewer simply cannot connect to them, which is probably the most fundamental stumbling block. It’s not entirely bad, but it failed because of the average actors and a very bland screenplay, which is simplifying so many things that it’s just incredibly obvious.
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