Big 'Bots and Belligerent Behemoths Clash in Pacific Rim (2013)

Since I'm planning to wrap up 2013 with a look back at a few examples of Japanese robot toys--one of my favorite kind of toys--I thought I would kick off this year-end series of posts with a review of Guillermo del Toro's Pacific Rim, one of the big-budget releases from last summer that I missed when it was playing in the theaters.

Summer blockbusters have never been held in high regard by the film critic community, and such critics have been particularly displeased with Hollywood's over-usage of CGI effects to produce increasingly bigger and louder blockbuster movies. To be sure, such criticism is not entirely inaccurate: CGI does permit the creation of larger-scale environments and set pieces in ways that miniatures, matte paintings and other practical effect techniques could never allow. As such, CGI has enabled the production of many, many summer blockbusters that are enormous in terms of spectacle but conspicuously short in terms of creative ideas and conceptual depth. Pacific Rim is not one of those movies, because del Toro eagerly packs every frame of his film with enough details and ideas that fans who know what they're looking at will be reviewing this movie for years to come. Pacific Rim is a "big" in every sense of the term--big CGI, big landscapes, big battles, big ideas, and big ambition. In fact, I can't think of how any other special effects technique other than CGI could have accommodated del Toro's story.

In a nutshell, Pacific Rim is about a group of pilots, military leaders, scientists and technicians who build and operate giant robots called "Jaegers" that are designed to fight a seemingly endless series of giant monsters called "Kaiju" that have been emerging out of the Pacific Ocean for years to regularly trash the nearest city. The movie takes places during the closing days of the Kaiju war, when the Jaeger team is planning its final offensive that promises to put an end to the Kaiju menace.

Pacific Rim is a well-made film in every aspect: a well-written script, a well-cast ensemble of actors, and a well-directed approach to the material. Yet to really appreciate this movie, one has to understand that it is a tribute to Japan's "Super Robot" fantasy-science fiction genre and its "Real Robot" spin-off subgenre. Super Robot and Real Robot anime and manga usually involve giant robots that are piloted by human beings to fight giant monsters, other giant robots, or both. The Super Robot genre began in the mid-50s with the manga series Tetsujin 28, and it has continued with popular titles such as Mazinger Z, Mobile Suit Gundam, Patlabor and Neon Genesis Evangelion.

One of Pacific Rim's Super Robots, complete with "Rocket Punch" action.

Pacific Rim also draws inspiration from Japan's kaiju movies (ergo the collective name of the giant monsters in Rim), and the monster designs in the movie demonstrate how much del Toro and his production crew love and understand kaiju films such as Godzilla and Mothra. Nevertheless, most of the film's other details--the characters, their technology, the situations they face and the world they inhabit--are clearly modeled after Super Robot and Real Robot narratives. To put it another way, Pacific Rim is to Super Robot and Real Robot stories as Star Wars is to pulpy sci-fi space operas such as Buck Rogers and Flash Gordon.

With so many details spread throughout the movie, some aspects feel somewhat lacking. In particular, so much detail is applied to movie's fictitious world (a world where there's even a black market for dead Kaiju parts) that the characters feel more like broad personality types than fully-developed individuals. We see bits and pieces of who they are and their roles within the beleaguered, monster-pummeled society they represent but not much more than that; at times, it almost feels like watching Top Gun with giant robots instead of fighter jets. Yet del Toro's enthusiasm for the material permeates every aspect of the film, so I enjoyed geeking out with him just to see what kind of unique interpretations he could put on machines and monsters that are so closely associated with Japanese pop culture. To say that del Toro went above and beyond what he set out to do is an understatement, making this one of his best films to date.

If you don't understand why anyone would want to make a big-budget, live-action film based on anime and manga stories about giant robots, then Pacific Rim probably isn't for you. Otherwise, if you love big brawling 'bots and are looking for an example of CGI done right, then go grab some popcorn and treat yourself to del Toro's magnum mecha opus.

Alien Franchise Update: Reboots, Sequels, and a Prequel Sequel

As a horror and sci-fi nerd, I do what I can to keep my franchise scorecard up to date. Right now, Star Wars and the superhero universes of DC and Marvel are currently developing a selection of movie and TV releases, while many other franchises are stuck in some form of reboot--either making another reboot sequel (Star Trek), preparing to release a reboot (RoboCop), or starting pre-production of a reboot (Terminator). I've also been keeping current with developments in the Alien franchise, which has a number of projects in development but only one movie in the works. Read on for more details about what 20th Century Fox has in store for the horror franchise where no one can hear you scream.

Comic Books: The only reboot that's planned right now for the Alien universe is being done by Dark Horse for its lines of Aliens, Predator and Aliens vs. Predator comics. According to io9's interview with the creative team behind the reboots, the new comics are being planned in conjunction with each other along with Dark Horse's new line of Prometheus comics. Presumably, this new expanded Alien, Engineer and Predator universe will be much more unified than the previous Dark Horse comics, which I think is a step in the right direction.

While the new comics will regard all of the previous stand-alone movies as canon, it appears that the AvP movies will not be referenced in any way by the new comics. Then again, since those movies cribbed most of their key ideas from Dark Horse's AvP comics anyway (such as Predators hunting Aliens as a rite of passage and the possibility of Alien-Predator hybrids), I don't think that the omission of specific details from those films will make much of a difference in the new comic stories.

Movies: So far, the only movie that's planned for the Alien franchise is a sequel to Prometheus, the 2012 Alien prequel. Director Ridley Scott and cast member Michael Fassbender have both confirmed that Prometheus 2 will happen and it will most likely go into production in 2015.

Video Games: Even though Sega's Aliens: Colonial Marines was a disaster, that hasn't discouraged the company from trying its hand at publishing another Alien game. According to Kotaku, Sega is overseeing the development of a new game called Alien: Isolation that will place a greater emphasis on survival tactics over run-and-gun action. Isolation will take place on a space station and most of the game will feature only a single Alien; however, the most interesting details about this game are that its protagonist will be Amanda Ripley, daughter of Ellen Ripley, and its other characters will include clones. (FYI, Amanda is mentioned in the extended director's cut of Aliens, not the theatrical release.)

Amanda's presence in Isolation suggests that it will take place between Alien and Aliens, although why Amanda is being used at all outside of her obvious connection to Ripley remains a mystery. Furthermore, clones don't appear in the Alien saga until Alien Resurrection, which takes place 200 years after Alien 3. Perhaps Isolation will provide more background details about certain plot points in Resurrection, but that's just speculation for now.

Novels: A new novel entitled Alien: Out of the Darkness will be published in January 2014. Written by Tim Lebbon, Out of the Darkness is the first of a trilogy of novels that take place between Alien and Aliens. The other two books in the trilogy are being written by other authors, but each novel has been developed under the supervision of 20th Century Fox with the intent of making them part of franchise canon. Whether the new novel trilogy will have any connections to the Alien: Isolation game is currently unknown.

Lebbon has already said in interviews that the plot of Out of the Darkness will involve Ripley and Ash. According to him, some of Ash's android consciousness remained alive in the computer of the Narcissus escape pod, but he hasn't said how Ripley will be involved in the story while also remaining in hypersleep. I'm guessing that the novel with have a situation along the lines of the early scenes of Prometheus where the android David was watching Elizabeth Shaw's dreams--maybe the disembodied Ash will be invading the dreams of Ripley.

I think that each of these projects have great potential for continuing and expanding the Alien universe. However, the fact that 20th Century Fox is only willing to develop "canon" stories in video games and novels suggests to me how reluctant it is to commit to a new Alien movie project. Ridley Scott may still be working on Prometheus 2, but that doesn't mean that Fox couldn't support the production of a new Alien movie in the meantime. Furthermore, even though Fox is willing to label certain non-movie Alien projects as franchise canon, it's questionable as to whether such classifications will be maintained over time. For example, the Colonial Marines game was hyped as being "canon", but I suspect that the game's poor sales and critical drubbing has since caused Fox to retract that claim.

BBC's Orphan Black Sends in the Clones

Thank goodness for modern cable TV, because I wouldn't know what to do without BBC. First, it broadcast the amazing three-part zombie miniseries In the Flesh, and last weekend it finished its run of the first ten episode season of Orphan Black. A title like Orphan Black sounds like some kind of anime or manga series (you know, something like Perfect Blue or Death Note), but it's not. It's a sci-fi TV show about a covert experiment in cloning, as told from the clones' perspective.

Orphan Black opens in Toronto with a young woman named Sarah (Tatiana Maslany) who is trying to escape her poor, drug-fueled life and regain custody of her daughter Kira (Skyler Wexler). Sarah was adopted when she was an infant, and her only close friend is her foster brother Felix (Jordan Gavaris). One day, Sarah is waiting at a metro station when a woman who looks exactly like commits suicide by throwing herself in front of an oncoming train. Seizing the opportunity, Sarah decides to assume the identity of the woman, whose name is Beth, as part of a plan to fake her own death and run off with Kira. However, her plan becomes much more complicated when she learns that Beth is not some random look-alike but an actual clone of Sarah--one of a total of nine clones who are dying one by one at the hands of an unknown assassin.

Created by John Fawcett and Graeme Manson, Orphan Black takes the well-worn sci-fi trope of cloning to produce a crackerjack story populated by unexpected plot twists and a large cast of engaging characters. The series begins with a clever hook--a woman who plans to commit identity theft winds up discovering that her own identity was stolen before she was born--and it keeps building on itself in each successive episode until the intense season cliffhanger. It also asks a few provocative questions about the morality of genetic engineering and body modification, and it examines the dangerous intersections of scientific research with absolutist ideology and short-sighted, egocentric pundits who are heralded as "visionaries".

In comparison to other TV series, Orphan Black often reminded me of Joss Whedon's Dollhouse in that it has a main actress who is tasked with playing multiple roles, as well as its depiction of people who appear to be ordinary on the surface but are in fact being ruthlessly exploited by a sinister, clandestine technology. It also made me think of all the sci-fi shows that have used clones as a minor story arc or single episode plot (shows like Star Trek and The X-Files) without exploring the full range of narrative possibilities that clones and cloning can provide.

Of course, simply populating a sci-fi TV show with clones isn't enough to make it good. Orphan Black would have been a much lesser story if the writers did not develop the clones as individual characters or it cast an actress of limited range to portray all of them. Thankfully, the scripts give each of the clones a distinct personality and Maslany brings each of them to life through nuanced performances and seamless composite shots. The scenes where Maslany has to play against herself--or against herself and herself--are very convincing and add so much to the show's drama and suspense. Each clone reacts differently to what is happening, and the show follows each reaction to its logical and unique conclusion.

If you love intrigue, surprises and dark humor in your sci-fi, Orphan Black is a show for you. I don't know how much longer it can keep up its current level of quality, but I'm definitely going to turn in for the second season to find out. Click here to visit the official BBC Orphan Black page.