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Pacific Rim (del Toro, 2013) — The Reviews Thread
07-16-13, 09:29 AM
#351
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Re: Pacific Rim (del Toro, 2013) — The Reviews Thread
Yeah. Young Mako was perfect for what she had to do. Man, I love that whole part of her. Crab like Kaiju fucking up a Japanese city. Love the colors that GDT uses for his films. This one was almost an overload on it. He really loves that autumn yellow of his.
07-16-13, 09:36 AM
#352
DVD Talk Legend
Re: Pacific Rim (del Toro, 2013) — The Reviews Thread
I wanted to love this, but it just didn't happen. I sort of hated the pacing of the overall story... I felt like I was watching the third part of a trilogy having missed the first two. The stories/films I wanted to see were glossed over in the opening "previously on Pacific Rim" recap.
They threw me into a world I didn't care about, and none of the characters did anything to draw me in. The battles were fun and the robot/creature designs were amazing, but without any real connection to the story I never got fully engaged in the film. I liked it, but it could have been so much more.
As a side note, I just don't think I'm as into Del Toro as a lot of others are. I really enjoyed the Hellboy films, and Pan's Labyrinth was good, but I hated Blade II and have never made it all the way through Cronos.
Spoiler:
As a side note, I just don't think I'm as into Del Toro as a lot of others are. I really enjoyed the Hellboy films, and Pan's Labyrinth was good, but I hated Blade II and have never made it all the way through Cronos.
07-16-13, 09:52 AM
#353
DVD Talk Hero
Re: Pacific Rim (del Toro, 2013) — The Reviews Thread
So many movies these days are made with thoughts of franchising and multiple sequels that we rarely get a complete story with a definitive ending any more. It's like all these movie exist solely to make a sequel out of.
It is so refreshing that Pacific Rim is all one big story, with a solid ending in one film. But if they do need to do a sequel, there enough material for it.
07-16-13, 10:13 AM
#354
RIP
Re: Pacific Rim (del Toro, 2013) — The Reviews Thread
Fuck that shit!
So many movies these days are made with thoughts of franchising and multiple sequels that we rarely get a complete story with a definitive ending any more. It's like all these movie exist solely to make a sequel out of.
It is so refreshing that Pacific Rim is all one big story, with a solid ending in one film. But if they do need to do a sequel, there enough material for it.
So many movies these days are made with thoughts of franchising and multiple sequels that we rarely get a complete story with a definitive ending any more. It's like all these movie exist solely to make a sequel out of.
It is so refreshing that Pacific Rim is all one big story, with a solid ending in one film. But if they do need to do a sequel, there enough material for it.
07-16-13, 10:41 AM
#355
DVD Talk Hero
Re: Pacific Rim (del Toro, 2013) — The Reviews Thread
Watching Rinko Kikuchi Pacific Rim made me want to watch Assault Girls right after on Blu-ray. It's a fun little flick, imo.
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<iframe width="560" height="315" src="//www.youtube.com/embed/PqY55EtA9Mw" frameborder="0" allowfullscreen></iframe>
07-16-13, 11:09 AM
#356
DVD Talk Hall of Fame
All of my childhood dreams just came true....
Arriving halfway through a summer loaded with known franchises and sequels, Pacific Rim is an odd creature. Boasting no major stars, a director know primarily for dark art-house fantasies and off-kilter modestly budget comic-book properties, and a combination of genre known to few outside of geekdom, Pacific Rim stomps into theaters on a $190 million dollar budget. Guillermo del Toro's loving valentine to the mecha anime and kaiju eiga tokusatsu of his youth, Pacific Rim is a fanboy fever dream creature-feature. The film is knowingly silly, full of telegraphed plot points and obvious but chewy dialogue, and like many "genre filmmakers," words are not del Toro's strongest suit, giving the film a much stronger sense of ideas underpinning than ultimately displayed in the actual narrative in execution. The film isn't brainless, but many of its ideas are either articulated too directly through rather blunt dialogue or tossed somewhere in the post-modern blender mix that the film winds up being. But whereas many post-Nolan blockbusters aim for dark and dour, Pacific Rim's greatest strength is its gleeful, childlike exuberance. It's just so damn much fun.
The narrative revolves around Kaiju, a series of giant monsters that would make Eiji Tsubraurya gleefully proud, rising out a of a rift in the pacific ocean. Mankind pours all of its resources into destroying them through traditionally military means before realizing that another approach is required: the Jaegers, gigantic mecha-style robots somewhere between the anime mecha of the Gundam anime franchises and the towering tokusatsu that populate many Super Sentai series. Piloted by two humans who work in tandem via a psycic link known as "the Drift," they're not sleek and agile, but del Toro's visionary eye gives them great weight and personality. Mankind, like in many an Ishiro Honda tokusatsu classic, puts aside their differences to face a common foe, and del Toro's cast of characters, however archetypical, have a nicely international flavor. As the attacks worsen and funding for the Jaegers is pulled, a washed-up mecha pilot (Charlie Hunnam), a badass military commander (Idris Elba), a pair of nerdy scientists (Charlie Day, who bears an uncanny resemblance to J.J. Abrams, and Burn Gorman), a black-market monster organs dealer (a hilariously flamboyant Ron Peralman), a Japanese pilot (Rinko Kikuchi), and a handful of other motley characters make their last stand.
Pacific Rim boasts way more style than substance, and those looking for the rich political underpinning of del Toro's best films like Pan's Labyrinth or The Devil's Backbone may be disappointed. The film boasts many interesting ideas and themes-mankind uniting for a common cause, the Drift's obvious symbolic value of the necessity of cooperation for mankind, but they're shuffled within the mix of its narrative. The plot beats are all out of a screenwriting handbook, and most of the character moments, in spite of strong performances by the actors, feel wrote rather than felt. But if it is style over substance, what style it is! Whereas Michael Bay's Transformers films managed to mangle 30 years of mythology and merely confuse audiences with their poorly-designed robots and the director's hyperactive camera and amphetamine editing, del Toro's have a rich sense of scale. The designs, culled from a variety of sources, have a great sense of physical weight, richly detailed monsters, and model-kit ready bulky robots, full of del Toro's loving clockwork detail. The human pilots make the Jaegers feel very alive, del Toro's obsessive sense of detail giving them personalities all their own.
Pacific Rim feels, even at 132 minutes, like there's way more to explore. The film's world is so rich, many ideas are frustratingly unexplored, or glossed over-the possible social commentary in the jobs (and dangers thereof) created by the building of the Jaegers and the walls. The film's central theme of mankind internationally uniting in the face of crisis, harkening back to many Ishirō Honda classics like Gorath, the black market for kaiju organs, the day-to-day lives of the characters living in fear. The film winds up slightly pitched between del Toro's own personal and political fascinations and visual aesthic approaches and its commercial need. The film by no means feels impersonal, but as a work-for-hire project, del Toro is forced to concede the needs of blockbuster filmmaking. The film is a massive post-modern pastiche, firstly recalling past films, such kaiju classics as Godzilla, Rodan. del Toro's signature blend of highbrow visual art like his cited influence of Hokusai's The Great Wave off Kanagawa & Francisco Goya's The Colossus, pulp like the clean lines of Jack Kirby, the rough edges and fervent kineticism of man manga and anime, and of course the great robots that populate so many tokusatsu classics like Giant Robo and Super Sentai. Put them all in a blender, and hit "liquefy." Some of it works, some of it doesn't but the film feels like the work of an artist, sometimes silly and unconcerned with Hollywood realism,but always director's uniquely poetic eye and sense of explosive imaginatiion.
But if the dialogue is clunky, the sheer vision is positively breathtaking. The performances are all pitch-perfect, giving the film a nice sense of character to go with the spectacle. I for one would've liked to have seen more the Russian and Chinese Jeagers. But the film feels positively like opera in places, a rich 7.1 surround sound track giving every blow the feel of sonic booms. The film's many elements generally always work in tandem, when they do, the film evokes the perfect blend of childlike wonder, awe, glee, pathos, and emotion. Some plot beats are pretty familiar, and seem more wrote than felt, but the actors do their best with them, and they go a long way towards selling the film's fantastic world. The film's many smackdowns between the kaiju and the Jagers are exhilarating, del Toro's grasp of scale with canted low angles, interactions with the environment, and an almost mythic sense of awe. And that's Pacific Rim's greatest achievement, that it evokes the childlike sense of fun many youngsters found in these monster movies in the first place, a window into imaginative, fantastic worlds found on late-night movies and beat-up VHS tapes. Whatever its flaws, the film is so damn much fun, it's hard to resist. It isn't doing the business that WB and Legendary hoped in theaters, but like many of del Toro's films, hopefully it will do its best business on video. It has cult favorite written all over it. You're hearing the word "kaiju" in a $190 million summer blockbuster fanboys. Sit back, and have the time of your life. Clearly, del Toro sure is. And stick around after the credits for a brief text tribute to monster-masters Ishirō Honda and Ray Harryhausen. You sense the masters would approve.
The narrative revolves around Kaiju, a series of giant monsters that would make Eiji Tsubraurya gleefully proud, rising out a of a rift in the pacific ocean. Mankind pours all of its resources into destroying them through traditionally military means before realizing that another approach is required: the Jaegers, gigantic mecha-style robots somewhere between the anime mecha of the Gundam anime franchises and the towering tokusatsu that populate many Super Sentai series. Piloted by two humans who work in tandem via a psycic link known as "the Drift," they're not sleek and agile, but del Toro's visionary eye gives them great weight and personality. Mankind, like in many an Ishiro Honda tokusatsu classic, puts aside their differences to face a common foe, and del Toro's cast of characters, however archetypical, have a nicely international flavor. As the attacks worsen and funding for the Jaegers is pulled, a washed-up mecha pilot (Charlie Hunnam), a badass military commander (Idris Elba), a pair of nerdy scientists (Charlie Day, who bears an uncanny resemblance to J.J. Abrams, and Burn Gorman), a black-market monster organs dealer (a hilariously flamboyant Ron Peralman), a Japanese pilot (Rinko Kikuchi), and a handful of other motley characters make their last stand.
Pacific Rim boasts way more style than substance, and those looking for the rich political underpinning of del Toro's best films like Pan's Labyrinth or The Devil's Backbone may be disappointed. The film boasts many interesting ideas and themes-mankind uniting for a common cause, the Drift's obvious symbolic value of the necessity of cooperation for mankind, but they're shuffled within the mix of its narrative. The plot beats are all out of a screenwriting handbook, and most of the character moments, in spite of strong performances by the actors, feel wrote rather than felt. But if it is style over substance, what style it is! Whereas Michael Bay's Transformers films managed to mangle 30 years of mythology and merely confuse audiences with their poorly-designed robots and the director's hyperactive camera and amphetamine editing, del Toro's have a rich sense of scale. The designs, culled from a variety of sources, have a great sense of physical weight, richly detailed monsters, and model-kit ready bulky robots, full of del Toro's loving clockwork detail. The human pilots make the Jaegers feel very alive, del Toro's obsessive sense of detail giving them personalities all their own.
Pacific Rim feels, even at 132 minutes, like there's way more to explore. The film's world is so rich, many ideas are frustratingly unexplored, or glossed over-the possible social commentary in the jobs (and dangers thereof) created by the building of the Jaegers and the walls. The film's central theme of mankind internationally uniting in the face of crisis, harkening back to many Ishirō Honda classics like Gorath, the black market for kaiju organs, the day-to-day lives of the characters living in fear. The film winds up slightly pitched between del Toro's own personal and political fascinations and visual aesthic approaches and its commercial need. The film by no means feels impersonal, but as a work-for-hire project, del Toro is forced to concede the needs of blockbuster filmmaking. The film is a massive post-modern pastiche, firstly recalling past films, such kaiju classics as Godzilla, Rodan. del Toro's signature blend of highbrow visual art like his cited influence of Hokusai's The Great Wave off Kanagawa & Francisco Goya's The Colossus, pulp like the clean lines of Jack Kirby, the rough edges and fervent kineticism of man manga and anime, and of course the great robots that populate so many tokusatsu classics like Giant Robo and Super Sentai. Put them all in a blender, and hit "liquefy." Some of it works, some of it doesn't but the film feels like the work of an artist, sometimes silly and unconcerned with Hollywood realism,but always director's uniquely poetic eye and sense of explosive imaginatiion.
But if the dialogue is clunky, the sheer vision is positively breathtaking. The performances are all pitch-perfect, giving the film a nice sense of character to go with the spectacle. I for one would've liked to have seen more the Russian and Chinese Jeagers. But the film feels positively like opera in places, a rich 7.1 surround sound track giving every blow the feel of sonic booms. The film's many elements generally always work in tandem, when they do, the film evokes the perfect blend of childlike wonder, awe, glee, pathos, and emotion. Some plot beats are pretty familiar, and seem more wrote than felt, but the actors do their best with them, and they go a long way towards selling the film's fantastic world. The film's many smackdowns between the kaiju and the Jagers are exhilarating, del Toro's grasp of scale with canted low angles, interactions with the environment, and an almost mythic sense of awe. And that's Pacific Rim's greatest achievement, that it evokes the childlike sense of fun many youngsters found in these monster movies in the first place, a window into imaginative, fantastic worlds found on late-night movies and beat-up VHS tapes. Whatever its flaws, the film is so damn much fun, it's hard to resist. It isn't doing the business that WB and Legendary hoped in theaters, but like many of del Toro's films, hopefully it will do its best business on video. It has cult favorite written all over it. You're hearing the word "kaiju" in a $190 million summer blockbuster fanboys. Sit back, and have the time of your life. Clearly, del Toro sure is. And stick around after the credits for a brief text tribute to monster-masters Ishirō Honda and Ray Harryhausen. You sense the masters would approve.
Last edited by hanshotfirst1138; 07-31-13 at 08:49 PM.
07-16-13, 11:45 AM
#357
Re: All of my childhood dreams just came true....
Arriving halfway through a summer loaded with known franchises and sequels, Pacific Rim is an odd creature. Boasting no major stars, a director know primarily for dark art-house fantasies and off-kilter modestly budget comic-book properties, and a combination of genre known to few outside of geekdom, Pacific Rim stomps into theaters on a $190 million dollar budget. Guillermo del Toro's loving valentine to the mecha anime and kaiju eiga tokusatsu of his youth, Pacific Rim is a fanboy fever dream creature-feature.
The narrative revolves around Kaiju, a series of giant monsters that would make Eiji Tsubraurya gleefully proud, rising out a of a rift in the pacific ocean. Mankind pours all of its resources into destroying them through traditionally military means before realizing that another approach is required: the Jagers, gigantic mecha-styled robots. As the attacks worsen, a washed-up mecha pilot (Charlie Hunnam), a badass military commander (Idris Elba), a pair of nerdy scientists (Charlie Day, who bears an uncanny resemblance to J.J. Abrams, and Burn Gorman), a black-market monster organs dealer (a hilarious Ron Peralman), a Japanese pilot (Rinko Kikuchi), and a handful of other motley characters make their last stand.
Pacific Rim boasts way more style than substance, and those looking for the rich political underpinning of del Toro's best films like Pan's Labyrinth or The Devil's Backbone may be disappointed. But what style it is! Whereas Michael Bay's Transformers films managed to mangle 30 years of mythology and merely confuse audiences with their poorly-designed robots and the director's hyperactive camera and amphetamine editing, del Toro's have a rich sense of scale. The designs, culled from a variety of sources, have a great sense of physical weight, richly detailed monsters, and model-kit ready bulky robots, full of del Toro's loving clockwork detail.
Pacific Rim feels, even at 132 minutes, like there's way more to explore. The film's world is so rich, many ideas are frustratingly unexplored, or glossed over-the possible social commentary in the jobs (and dangers thereof) created by the building of the Jagers and the walls. The film's central theme of mankind internationally uniting in the face of crisis, harkening back to many Ishirō Honda classics like Gorath, the black market for kaiju organs, the day-to-day lives of the characters living in fear. The film winds up slightly pitched between del Toro's own personal and political fascinations and visual aesthic approaches and its commercial need. The film by no means feels impersonal, but as a work-for-hire project, del Toro is forced to concede the needs of blockbuster filmmaking.
Generally, though, he rises to the challenge marvelously. The performances are all pitch-perfect, giving the film a nice sense of character to go with the spectacle. I for one would've liked to have seen more the Russian and Chinese Jeagers. But the film feels positively like opera in places, a rich 7.1 surround sound track giving every blow the feel of sonic booms. The film's many elements generally cohere pretty well, and even if they don't always work in tandem, when they do, the film evokes the perfect blend of childlike wonder, awe, glee, pathos, and emotion. Some plot beats are pretty familiar, and seem more wrote than felt, but the actors do their best with them, and they go a long way towards selling the film's fantastic world. The film's many smackdowns between the kaiju and the Jagers are exhilarating, del Toro's grasp of scale with canted low angles, interactions with the environment, and an almost mythic sense of awe, del Toro's trademark blend of highbrow art like Goya and pulp like Jack Kirby and Eiji Tsuburaya. And that's Pacific Rim's greatest achievement, that it evokes the childlike sense of fun many youngsters found in these monster movies in the first place, a window into imaginative, fantastic worlds found on late-night movies and beat-up VHS tapes. Whatever its flaws, the film is so damn much fun, it's hard to resist. It isn't doing the business that WB and Legendary hoped in theaters, but like many of del Toro's films, hopefully it will do its best business on video. It has cult favorite written all over it. You're hearing the word "kaiju" in a $190 million summer blockbuster fanboys. Sit back, and have the time of your life. Clearly, del Toro sure is. And stick around after the credits for a brief text tribute to monster-masters Ishirō Honda and Ray Harryhausen. You sense the masters would approve.
The narrative revolves around Kaiju, a series of giant monsters that would make Eiji Tsubraurya gleefully proud, rising out a of a rift in the pacific ocean. Mankind pours all of its resources into destroying them through traditionally military means before realizing that another approach is required: the Jagers, gigantic mecha-styled robots. As the attacks worsen, a washed-up mecha pilot (Charlie Hunnam), a badass military commander (Idris Elba), a pair of nerdy scientists (Charlie Day, who bears an uncanny resemblance to J.J. Abrams, and Burn Gorman), a black-market monster organs dealer (a hilarious Ron Peralman), a Japanese pilot (Rinko Kikuchi), and a handful of other motley characters make their last stand.
Pacific Rim boasts way more style than substance, and those looking for the rich political underpinning of del Toro's best films like Pan's Labyrinth or The Devil's Backbone may be disappointed. But what style it is! Whereas Michael Bay's Transformers films managed to mangle 30 years of mythology and merely confuse audiences with their poorly-designed robots and the director's hyperactive camera and amphetamine editing, del Toro's have a rich sense of scale. The designs, culled from a variety of sources, have a great sense of physical weight, richly detailed monsters, and model-kit ready bulky robots, full of del Toro's loving clockwork detail.
Pacific Rim feels, even at 132 minutes, like there's way more to explore. The film's world is so rich, many ideas are frustratingly unexplored, or glossed over-the possible social commentary in the jobs (and dangers thereof) created by the building of the Jagers and the walls. The film's central theme of mankind internationally uniting in the face of crisis, harkening back to many Ishirō Honda classics like Gorath, the black market for kaiju organs, the day-to-day lives of the characters living in fear. The film winds up slightly pitched between del Toro's own personal and political fascinations and visual aesthic approaches and its commercial need. The film by no means feels impersonal, but as a work-for-hire project, del Toro is forced to concede the needs of blockbuster filmmaking.
Generally, though, he rises to the challenge marvelously. The performances are all pitch-perfect, giving the film a nice sense of character to go with the spectacle. I for one would've liked to have seen more the Russian and Chinese Jeagers. But the film feels positively like opera in places, a rich 7.1 surround sound track giving every blow the feel of sonic booms. The film's many elements generally cohere pretty well, and even if they don't always work in tandem, when they do, the film evokes the perfect blend of childlike wonder, awe, glee, pathos, and emotion. Some plot beats are pretty familiar, and seem more wrote than felt, but the actors do their best with them, and they go a long way towards selling the film's fantastic world. The film's many smackdowns between the kaiju and the Jagers are exhilarating, del Toro's grasp of scale with canted low angles, interactions with the environment, and an almost mythic sense of awe, del Toro's trademark blend of highbrow art like Goya and pulp like Jack Kirby and Eiji Tsuburaya. And that's Pacific Rim's greatest achievement, that it evokes the childlike sense of fun many youngsters found in these monster movies in the first place, a window into imaginative, fantastic worlds found on late-night movies and beat-up VHS tapes. Whatever its flaws, the film is so damn much fun, it's hard to resist. It isn't doing the business that WB and Legendary hoped in theaters, but like many of del Toro's films, hopefully it will do its best business on video. It has cult favorite written all over it. You're hearing the word "kaiju" in a $190 million summer blockbuster fanboys. Sit back, and have the time of your life. Clearly, del Toro sure is. And stick around after the credits for a brief text tribute to monster-masters Ishirō Honda and Ray Harryhausen. You sense the masters would approve.
After seeing this on Friday, I felt I had to go back to what I love about the genre, so, over the weekend I watched GODZILLA: TOKYO SOS, arguably the best G-film of the 21st century; SPACE AMOEBA (aka YOG, MONSTER FROM SPACE); SUPER INFRAMAN, an excellent Hong Kong take on Ultraman; episodes of the original "Ultraman" itself; two installments of the "M.D. Geist" mecha anime; and episodes of "Power Rangers Time Force," arguably the best PR season of them all. That got my mood back up.
07-16-13, 12:06 PM
#358
Re: Pacific Rim (del Toro, 2013) — The Reviews Thread
Fuck that shit!
So many movies these days are made with thoughts of franchising and multiple sequels that we rarely get a complete story with a definitive ending any more. It's like all these movie exist solely to make a sequel out of.
It is so refreshing that Pacific Rim is all one big story, with a solid ending in one film. But if they do need to do a sequel, there enough material for it.
So many movies these days are made with thoughts of franchising and multiple sequels that we rarely get a complete story with a definitive ending any more. It's like all these movie exist solely to make a sequel out of.
It is so refreshing that Pacific Rim is all one big story, with a solid ending in one film. But if they do need to do a sequel, there enough material for it.
07-16-13, 02:17 PM
#359
Banned
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Re: All of my childhood dreams just came true....
I didn't get the sense of fun out of it you did, nor did I find it exhilarating the way I did TRANSFORMERS 1 & 3. I found it dreary in many parts and ultimately quite disturbing in its hellish scenes of the breach. And somewhat depressing given how lifeless most of the human characters were. Other than Mako Mori--and only because of her childhood flashbacks--I didn't feel anything for anybody. What were they defending? What human society was there worth defending? That BLADE RUNNER-style Hong Kong overrun by human vermin like Ron Perlman's character and his henchmen?
After seeing this on Friday, I felt I had to go back to what I love about the genre, so, over the weekend I watched GODZILLA: TOKYO SOS, arguably the best G-film of the 21st century; SPACE AMOEBA (aka YOG, MONSTER FROM SPACE); SUPER INFRAMAN, an excellent Hong Kong take on Ultraman; episodes of the original "Ultraman" itself; two installments of the "M.D. Geist" mecha anime; and episodes of "Power Rangers Time Force," arguably the best PR season of them all. That got my mood back up.
After seeing this on Friday, I felt I had to go back to what I love about the genre, so, over the weekend I watched GODZILLA: TOKYO SOS, arguably the best G-film of the 21st century; SPACE AMOEBA (aka YOG, MONSTER FROM SPACE); SUPER INFRAMAN, an excellent Hong Kong take on Ultraman; episodes of the original "Ultraman" itself; two installments of the "M.D. Geist" mecha anime; and episodes of "Power Rangers Time Force," arguably the best PR season of them all. That got my mood back up.
07-16-13, 02:48 PM
#360
07-16-13, 04:04 PM
#364
DVD Talk Limited Edition
Re: Pacific Rim (del Toro, 2013) — The Reviews Thread
Fuck that shit!
So many movies these days are made with thoughts of franchising and multiple sequels that we rarely get a complete story with a definitive ending any more. It's like all these movie exist solely to make a sequel out of.
It is so refreshing that Pacific Rim is all one big story, with a solid ending in one film. But if they do need to do a sequel, there enough material for it.
So many movies these days are made with thoughts of franchising and multiple sequels that we rarely get a complete story with a definitive ending any more. It's like all these movie exist solely to make a sequel out of.
It is so refreshing that Pacific Rim is all one big story, with a solid ending in one film. But if they do need to do a sequel, there enough material for it.
07-16-13, 04:18 PM
#365
DVD Talk Hero
Re: Pacific Rim (del Toro, 2013) — The Reviews Thread
You know, the more I think about PR, the dumber it gets and the less i like it.
Certainly not Prometheus level idiocy, but more like bland/cliched characterizations. Outside of the spectacle, there's nothing in the movie for me to invest in.
Certainly not Prometheus level idiocy, but more like bland/cliched characterizations. Outside of the spectacle, there's nothing in the movie for me to invest in.
07-16-13, 04:33 PM
#366
DVD Talk Legend
Re: Pacific Rim (del Toro, 2013) — The Reviews Thread
Well, that was two hours of noise. Between this and Man of Steel, I think that I have reached my threshold with listening to glass windows break.
07-16-13, 08:52 PM
#369
DVD Talk Hall of Fame
No, I don't need to get laid at all...
What were they defending? What human society was there worth defending? That BLADE RUNNER-style Hong Kong overrun by human vermin like Ron Perlman's character and his henchmen?
After seeing this on Friday, I felt I had to go back to what I love about the genre, so, over the weekend I watched GODZILLA: TOKYO SOS, arguably the best G-film of the 21st century
SPACE AMOEBA (aka YOG, MONSTER FROM SPACE)
SUPER INFRAMAN, an excellent Hong Kong take on Ultraman
episodes of the original "Ultraman" itself
two installments of the "M.D. Geist" mecha anime
and episodes of "Power Rangers Time Force," arguably the best PR season of them all. That got my mood back up.
07-16-13, 09:11 PM
#370
DVD Talk Hall of Fame
Re: Pacific Rim (del Toro, 2013) — The Reviews Thread
just got back from this. what a fucking blast. just a great summer blockbuster. minor flaws but no major complaints. loved it. 4/5
07-16-13, 09:12 PM
#371
Re: No, I don't need to get laid at all...
#1: Is the AIP dub on the US DVD? The AIP dubs are nostalgic staple for many fans, and the one for that, Sea Monster, Son of Godzilla, and others seem to have disappeared. Is it a rights issue? Are they on DVD anywhere?
#2: Wasn't that controversially ultraviolent, or was that one of the other 90s anime with a similar titles?
#3: No way, I think Power Rangers in Space is the franchise's finest hour
#1: No, the AIP dub for SPACE AMOEBA is not on the Tokyo Shock DVD. The dub included is the Toho "International" dub done by, I believe, an Australian crew.
#2: "M.D. Geist" is definitely ultraviolent, although I'm not aware of any controversy about it (or I simply don't recall it if there was one).
#3: "Power Rangers in Space" was awesome also. Great cast, esp. Patricia Ja Lee as Cassie, the Pink Ranger. And I loved Lost Galaxy's 3-part finale, titled "Journey's End."
07-17-13, 03:55 PM
#372
DVD Talk Special Edition
Join Date: Dec 2011
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Re: Pacific Rim (del Toro, 2013) — The Reviews Thread
I didn't particularly care for this movie. The action / visuals were good and all, but the story / characters did not intrigue me.
One item I am wondering about that perhaps went over my head:
One item I am wondering about that perhaps went over my head:
Spoiler:
07-17-13, 04:10 PM
#373
DVD Talk Hero
07-17-13, 09:29 PM
#374
DVD & Video Game Reviewer
Re: Pacific Rim (del Toro, 2013) — The Reviews Thread
did anyone else get the 13.5 inch poster? I want to frame it, but can't find 13.5x19.5 frames. Anyone have any luck?
07-17-13, 09:52 PM
#375
DVD Talk God
Re: Pacific Rim (del Toro, 2013) — The Reviews Thread
Why in the world was an American...Max Martini from The Unit, cast as an Aussie?
Plus, Martini is only 43. He looked way too young to play the father of Chuck. Robert Kazinsky is 30.
Was Anthony LaPaglia, who is an Aussie and 54 years old (and a much better actor than Martini), not available?
Plus, Martini is only 43. He looked way too young to play the father of Chuck. Robert Kazinsky is 30.
Was Anthony LaPaglia, who is an Aussie and 54 years old (and a much better actor than Martini), not available?
