Just as I was getting into the world building efforts from Pacific Rim Uprising the rug was pulled out from under me. Scott Eastwood, John Boyega, and Cailee Spaeny in Pacific Rim: Uprising (2018) – image for this review provided by Universal Pictures. One slow-mo comedic scene later and we find them in trouble with the law and thrust into military service-you can probably see where this is going. Before long, after a shaky cam chase foot chase that could have been copied directly from a smuggler betrayal scene in any sci-fi film, we’re introduced to the young Amara Namani, a hopeful Jaeger pilot. We’re introduced to John Boyega‘s Jake Pentecost, a morally questionable scavenger who is just trying to get by, an anti-hero archetype to which Pacific Rim Uprising contributes nothing new. We’re given a brief window into what could have been intriguing new ground for the franchise, but very quickly we’re reeled back into predictability. I dig this small slice of life we’re given in the opening moments. The atmosphere is both easy-going and uneasy, and its people trade in coveted goods like Sriracha sauce. The world is in a state of martial law and coastal zones are still in ruins, but people somehow find the time to party. It’s at this very moment that I started to sniff out its squandered potential.Īt first, I was into this new cheeky dystopian landscape. Ten years have passed since the events of the first film and things aren’t quite the same.
We’re also given a refresher on humanity’s efforts to battle them with Jaegers, specialized mechs that for the most part require multiple pilots by way of a neural link. The overview reminds us of the Precursors, an alien menace that sent Kaiju, organic weapons of destruction, to Earth.
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We’re immediately drawn into an “explainer” of sorts, just in case you didn’t get the gist that this movie was about giant robots fighting gargantuan monsters. Rinko Kikuchi in Pacific Rim: Uprising (2018) – image for this review provided by Universal Pictures.