Mientras la guerra entre la humanidad y las criaturas marinas monstruosas avanza, un antiguo piloto y un aprendiz se unen para conducir un arma aparentemente obsoleta en un esfuerzo desesper... Leer todoMientras la guerra entre la humanidad y las criaturas marinas monstruosas avanza, un antiguo piloto y un aprendiz se unen para conducir un arma aparentemente obsoleta en un esfuerzo desesperado por salvar al mundo del apocalipsis.Mientras la guerra entre la humanidad y las criaturas marinas monstruosas avanza, un antiguo piloto y un aprendiz se unen para conducir un arma aparentemente obsoleta en un esfuerzo desesperado por salvar al mundo del apocalipsis.
- Dirección
- Guionistas
- Elenco
- Nominada a1 premio BAFTA
- 7 premios ganados y 48 nominaciones en total
- Chuck Hansen
- (as Rob Kazinsky)
Opiniones destacadas
Any change to see a real action movie with almost unstoppable battles monsters, and a dose of special effects so amazing you just leave you with your mouth open.
Of course, not everything is good, but entertaining plot is somewhat similar to that of other films: The hero gets a big pain that leaves the battle, then when the world needs the triumphant return finds the love of his life between the two due to the bad, the nearly died, and finally live happily ever after (like a soap opera).
We must clarify that thanks to special effects, battles, and good performances, the plot is not uncomfortable. I really think it's worth watching.
Perhaps I came to it with a small chip on the shoulder – this is THE Guillermo mother-flipping del Toro, after all, a man who has created dark, supremely designed imaginations with Pan's Labyrinth and the Hellboy movies, and here he is getting to take on stuff he loves in a completely B-movie landscape: gnarly monsters, giant robots, comic-book stakes, and action with some substance. And Pacific Rim, for what it set out to accomplish as a sensational blockbuster, reached its aims for what I wanted. When taken in total, it may not have much more or less action than a Man of Steel, but it is much smarter, or just more creative and skilled and knowing of its audience, in layering out its action set pieces, and even in the broad strokes it takes as, basically, a B-level Saturday matinée flick. Del Toro cares about these characters, or at least tries to, deep down, and can show some of that like with the Asian pilot Mako Maori.
Is any of this deep? I'm still not sure. Does it need to be an artistic meditation on the cancelling of the apocalypse? Maybe another watch or two of five - because there will always be a part of me that can keep a hold on to an inner 13 year old - will bring that into focus. And aside from the monsters-and-robot work, which contains such good sights to behold, weight and depth to the designs, and the know-how to pace the action and to let us see it – in 2D, anyway, I didn't bother with 3D so I can't speak to that experience – there's some just good fun dialog (Charlie Day! Ron Perlman!!) and a sense that, 'Yes, this is a Godzilla experience, but we can still make it EXCITING'. So much of what I wanted this summer and only got in smaller doses (look at the end of the article for a bit on that) was in full-bloom in this production, which had a 190 million budget and the money looked like it was up on the screen, and not just in the CG but in the big sets and technology, and a story told by a Big Kid that would only hope the rest of the audience can genuinely feel like Big Kids if they aren't young already.
In other words, the director accomplished what Michael Bay has, over and over again, failed to do: inspire wonder, and put some basic thought into the process itself, in story and craft, and without a large dollop of cynicism.
It is easy to wring one's hands and say that blockbusters are the death of film, but all things have a place as long as they are done well and this is at least an honest and fun film. I say honest because it has no pretension to it – it is plain and simple a monster movie with a very big budget behind it. The effects are good, with good monster design and generally a sense of fun and energy to the deliver. Of course it is just effects hitting other effects but it works for what it is and at least does this well – unlike other films that would aspire to more but yet can't even do this with any skill. The action sequences are large and fun throughout and the soapy drama doesn't get in the way at all. The film is loaded with references which I mostly got – the voice of GLaDOS being my favorite one.
The cast are not particularly famous but it doesn't matter since the effects are the stars here. That said I thought they did a good job, in particular I enjoyed seeing Elba, Day, Collins, Kikuchi and others in their various roles. Del Toro continues his love of all things geeky with this film and in terms of direction it looks good, with plenty going on but never not being clear and engaging.
It isn't a brilliant film by any means but it is a straightforward one that is honest with the viewer. Robots punching monsters – that is all that is promised and on that it very much delivers. If this sounds like your thing then this will hit the spot no problem.
Battleship and Pacific Rim are 2 of those movies.
Pacific Rim takes a cool concept for a story, Monsters vs Machines and entwines a human element (the pilots) to result in a really fun extravaganza. The movie is not deep but has enough story to piece together the fighting sequences.
Sit down, hit the lights, pump the volume, disengage brain and have a blast :)
¿Sabías que…?
- TriviaApproximately a hundred Kaijus and a hundred Jaegers were designed, but only a fraction of them appeared in the film. Every week, the filmmakers held a vote for their favorites.
- Errores(at around 1h 14 mins) Gipsy Danger is said to be immune to an EMP because it is "nuclear powered" and therefore "analog". This would be nearly impossible as the two have nothing to do with one another. Most nuclear reactors have many digital parts and computers controlling them. Furthermore, the cockpit of Gipsy Danger is filled with what appear to be digital computers.
- Citas
Stacker Pentecost: Today. Today... At the edge of our hope, at the end of our time, we have chosen not only to believe in ourselves, but in each other. Today there is not a man nor woman in here that shall stand alone. Not today. Today we face the monsters that are at our door and bring the fight to them! Today, we are *canceling* the apocalypse!
- Créditos curiososAt the end of the closing credits, a Kaiju roar is heard.
- Versiones alternativasIn the North American release, the scene where Mako is introduced has her and Raleigh speaking in Japanese. Some international releases have this scene dubbed in English - not in Denmark and Norway though, where the Japanese is intact. To the exception of France where all Japanese dialogs are subtitled even in french dubbed versions.
- ConexionesFeatured in ReelzChannel Specials: Richard Roeper's Red Hot Summer (2013)
- Bandas sonorasJust Like Your Tenderness
Written by Liang Hong Zhi
Executive Produced by Ivy Wang and Mathew D
Performed by Luo Xiaoxuan
Courtesy of R2G Music/Coden Music
Selecciones populares
Everything New on Netflix in July
Everything New on Netflix in July
Detalles
- Fecha de lanzamiento
- Países de origen
- Sitios oficiales
- Idiomas
- También se conoce como
- Pacific Rim
- Locaciones de filmación
- Papenburger Meyer Shipyard, Lower Saxony, Alemania(Factory, where the Jaeger are built)
- Productoras
- Ver más créditos de la compañía en IMDbPro
Taquilla
- Presupuesto
- USD 190,000,000 (estimado)
- Total en EE. UU. y Canadá
- USD 101,802,906
- Fin de semana de estreno en EE. UU. y Canadá
- USD 37,285,325
- 14 jul 2013
- Total a nivel mundial
- USD 411,002,906
- Tiempo de ejecución2 horas 11 minutos
- Color
- Mezcla de sonido
- Relación de aspecto
- 1.85 : 1