“Pacific Rim: Uprising,” like other members of the sci-fi cesspool of mediocrity, delivers excessive CGI and empty plot. That said, stomaching some of the more stereotypical aspects of the film reveals interesting dialogue and sociopolitical parallelisms that will, at the very least, prevent you from leaving the theater early.
Director Guillermo del Toro and writer Travis Beacham’s “Pacific Rim” franchise follows a near-future struggle between humanity and the kaiju, massive sea monsters that are vomited out of the ocean floor and into dense cities around the world. In both “Pacific Rim” and the film’s newly-released sequel “Pacific Rim: Uprising,” protagonists fight back against those monsters with jaegers, human-piloted robots the size of skyscrapers. “Pacific Rim: Uprising,” released on March 23, features the same man-versus-monster premise. However, the sequel distinguishes itself from its predecessor with a predominantly new cast and topical socio-political issues.
John Boyega (“Star Wars,” “Attack the Block”) leads “Pacific Rim: Uprising” as Jake Pentecost, son of the late jaeger pilot General Stacker Pentecost (Idris Elba), who led the world-saving battle depicted in the first film. In a film set 10 years later, Jake has not followed in his father’s footsteps but rather pawns stolen jaeger parts on the black market to support his partying. After Amara (Cailee Spaeny), a young orphan who steals a part to finish her self-built jaeger, thwarts Jake’s deal, she and Jake are apprehended by the Pan-Pacific Defense Corps (PPDC) for resisting arrest and piloting Amara’s jaeger through the city streets.
In response, Jake’s adoptive sister Mako Mori (Rinko Kikuchi) lands Jake and Amara positions within the PPDC to escape jail time. Amara enters the jaeger pilot training program, and Jake becomes a pilot trainer and co-pilot to Nate (Scott Eastwood). Although the PPDC isn’t threatened by kaijus at the time, they continue the jaeger piloting program to compete with the Shao Corporation’s drone jaegers, spearheaded by company namesake Liwen Shao (Jing Tian) and Dr. Newt Geiszler (Charlie Day). However, trouble arises when a rogue jaeger attacks PPDC jaegers at an Australian summit. This deadly attack expedites the approval of kaiju cell-infused drone jaegers and forces Jake and his fellow pilots to unsurprisingly try to save the world.
The film’s Marvelesque witty dialogue and danceable soundtrack — full of Afrobeats, Southern gospel and club music — are the more fun elements of this visually impressive film. The familial conversation during between Jake and a hologram of Mako Mori weaves a moment of intimacy into the brashness and steel of the film’s futurescape. However, there aren’t many other touching moments mixed in with the quintessential city-raising battle scenes. The ones that do exist are so smushed together that the film’s aftermath feels like a montage of cross-cuts between fight scenes and pats on the back between characters who, again, are trying to evade the total obliteration of their world.
The film’s most prominent theme is defining what it means to be a man. Jake yearns to distinguish himself from his father’s legacy. His internal conflict becomes most apparent as he trains Amara and her diverse fellow pilots. Because leadership has become synonymous with his father’s name, Jake struggles to simultaneously lead and assert his individuality. Boyega delivers Jake’s conflict with a playfulness and vulnerability. He makes Jake endearing, even when he is being selfish or self-doubting. Jake’s eventual confidence juxtaposes Geiszler’s violent insecurity well, and the two prove to be important foils.
Amara’s struggles at piloting school are used to develop the concept of bravery. In a vulnerable exchange between Jake and Amara, Jake discourages her from letting “what other people think” define her. This, in addition to major character deaths and drifting simulation sequences, is the most stirring moment in the film. This is disappointing, given the story is about the looming possibility of total annihilation. There is even an unnecessary subplot in which Jake and Nate express romantic interest in the same female co-pilot who, outside of flirtatious exchanges, barely appears in the film. The love triangle could have been used to exemplify how intact one’s humanity can be amid the threat of extinction or to contrast the pressing threat of enemies with the aid of loved ones. Instead, Jake and Nate joked about who was more attractive. It was unnecessary. The film frequently had the opportunity to have more impactful moments but instead chose to be funny.
The story does possess resonant critiques of interstate exploitation and identity politics. A sizeable portion of the film is in Mandarin, and “Pacific Rim: Uprising” possess a largely Asian cast. These choices are a triumph of representation. Chinese, Russian and American pilots unite to defeat the rogue jaegers and kaijus threatening the world. It is incredibly powerful to see diverse members of the global community relinquish their political differences to secure the existence of the human race. Furthermore, their true common enemy is not simply the figure behind the new kaiju attacks, but rather the divisive impact of dehumanizing economic practices and toxic masculinity.
“Pacific Rim: Uprising” is thematically intriguing, but doesn’t add much nuance to the science-fiction/fantasy genre. Boyega’s performance and the political ideas the film explores are noteworthy, especially in the midst of a cinematic moment in which action blockbusters are attempting to address poignant political themes often relegated to dramas or indie films. But had there been a better balance between action and drama, “Pacific Rim: Uprising” could have been more than a funny and ultimately forgettable film.
Grade: C+
A&E Editor | adesola.thomas@emory.edu
Adesola Thomas (20C) is from Hampton, Ga., a place she refers to as "the land of cow pastures." She is a double major in political science and English. She enjoys cooking, long scenic walks and looking at pictures of black labs on the internet. The first song Adesola ever learned how to rap all the way through was Kanye West's "Herd Em' Say" which she now feels mildly conflicted about. Adesola brings up Greta Gerwig's "Lady Bird" at least once a day and wrote every one of her college admissions essays about the social impact of "Saturday Night Live." She can hide up to twelve pencils in her afro and enjoys writing about people and art.
