Lenses for viewing, understanding, and analyzing the depth of Pacific Rim.





Do y’all know how striking this scene in an action movie was to me? Main lead, who is young and gorgeous and the whitest of whites, oversteps his bounds. He touches a commanding officer. In any other action movie the dressing down would not be this severe (Elba’s adlibbing on this is terrifying…forget kaijus, Raleigh looks more scared by him than anything that crawls out of the breach and half the audience squirmed in chastened sympathy because WOW). And the thing is, Raleigh is right. His initial argument that Stacker is holding back Mako is for all intents and purposes, the correct assessment. He’s RIGHT. But he isn’t in a position to tell that to a commanding officer, especially the way he does. So Stacker puts him back in his place. Raleigh KNOWS he went out of line the minute he touched Stacker and rather than argue or shout “you know I’m right” or storm off or IGNORE a commanding officer like any other action movie would have the hero do, Raleigh backs down. Stacker doesn’t even let him get away with just the nod and choked back frustration, he makes him VERBALLY back down as well. There is no question who is in charge here. Raleigh is obviously angry and frustrated and still riding the testosterone high of kicking Chuck’s face, but he FREAKIN’ BACKS DOWN LIKE ANYONE WITH SENSE IN THE MILITARY WOULD. It’s always baffled me that main rodeo cowboy hero of every movie can just walk all over rank and command and not pay for it because he’s “special”. Raleigh only sort of does this once (and remember, his argument is valid) and he’s immediately reminded that’s not what he’s there for. And he KNOWS because he never complains about it, never goes off and stews about how unfair Stacker is, never holds it against Stacker later. He knows he crossed a line and he belly crawls back across it because it’s all about respect and he overstepped.This is something 9 out of 10 action movies wouldn’t address.

This is carried through in really fucking interesting ways throughout the movie, actually.  You remember the scene where we get introduced to Stacker?  The Becket boys are joking with Tendo about his disaster of a love life, and it’s cute and fun and casual and dude shenanigans — and then it gets announced that the Marshal is on deck.  The camera happens to be on Tendo, and you see him — you see on-fucking-screen how his shoulders straighten and he sits up and his tone of voice changes and goes professional.  And you see it again, too, in the post-double event scene where people are in a joyous, packed crowd around Mako and Raleigh — and then Stacks shows up at the door, and a path fucking parts for him like he is smoking-hot Moses in a double-breasted suit.    

That’s presence, folks.  That’s charisma, and even more than that, it’s people respecting a natural fucking leader who has earned respect.  

It’s been pointed out that people disobey Stacker in PacRim all the fucking time.  You’ll note that it’s not something undertaken for shits and giggles, though.  Instead, it’s because they’ve made an evaluation in the field and disagree because they think it’ll cost lives — each time, it’s presented in a sympathetic light, and each time, the movie shows that their disobedience Does Not Get What The Disobedient Ones Want. Remember that Yancy and Raleigh disobey Stacker’s order to stay back, and Yancy gets dead (and it’s not clear that they actually manage to save the dudes on the ship).  Chuck and Herc disobey the order to stay back because they’re trying to save the other Jaeger pilots, which they not only fail to do, but they get hit with an EMP pulse from the kaiju.  If Mako and Raleigh don’t arrive when they do, both it would’ve been a long, long fall into water for two Aussie pilots, and the world would have been well and truly fucked.  

The movie underscores this with what I consider to be the goddamn climax of the whole thing.  I mean, what’s the biggest command that Stacker gives?  Like, the single biggest one?  

To me, it’s gotta be when he tells Mako (Mako! Specifically!) during Pitfall that she can do this. She can finish it.  And Mako does it, even though it clearly fucking costs her not to try and go to Striker’s aid, even though it isn’t phrased as an order.  Stacker knows he doesn’t have to phrase it that way, because he knows that he has been Mako’s fixed point since she was ten years old.  He knows that she knows what should happen.  And he knows that he is right.  And that Mako agrees, too, because again: fixed point for how many years now?  The command doesn’t need to be verbalized as such.  It doesn’t even need to be entirely articulated, because the Drift that Mako and Stacker share isn’t a physical one inside a Jaeger with a Pons mechanism.  Instead, it exists because Stacker and Mako found each other in the wreckage of Tokyo.  Stacker raised Mako, and they share the same value system and the same way of looking at the world and the same fierce pride and devotion and willingness to lay down personal attachments to other lives if it means saving the motherfucking world.  

That’s their Drift.  

So Stacker tells Mako that she can make this sacrifice — his life, for the world.  It’s a parallel to the situation that Yancy and Raleigh have to make in Alaska, with the fishermen versus the city of two million, and the one that Herc and Chuck have in Hong Kong, with the lives of their fellow Rangers versus one of the few great coastal cities left.  Yancy and Raleigh and Herc and Chuck choose to disobey, and each time, not only does it not get them what they want, but it’s got shitty consequences.

This time, instead of laying it down as an order, Stacker tells Mako that she can finish it.  She’ll always be able to find in him in their particular version of the Drift.  

And Mako obeys because she agrees with him.  

And they save the world.  

Let me emphasize that: the world gets saved without further loss of life because Mako and Raleigh follow Stacker’s directive to Mako

Stacker fucking Pentecost, everyone.  This fucking movie, everyone. 

This scene was everything.

(Source: hirocks)


she’s my co-pilot

What I love is that so many movies are about the adoring female gaze. They’re focused on the female giving her male counterpart the “oh you masculine idiot darling” look as she understands why he’s being distant/angsty/troubled/stubborn/tearful/complicated. The times you get the male adoring gaze is when the female shows up in a pretty dress or cleaned up or being so charmingly feminine. With Pacific Rim, Raleigh gives Mako the adoring male gaze not for being pretty or dainty or cute (which she’s all those things), but she gets the adoring look for being MAKO. She gets that look when she saves his life. She gets that look when she beats him. She gets that look when she surprises him. She gets that look when she simply comes and sits with him. By the end of the movie we are very clear that Raleigh adores Mako and there was no “transformation” scene for him to do it. He was charmed by her right away, but he adored her the minute she didn’t back down from him and bested him. And Mako doesn’t give Raleigh the “oh you” look ever. She gives him the genuine smiles of someone thinking “you’re a really really good guy, Raleigh Becket.” She gives him the look of someone thinking “of all the people I’d want with me at the end of the world, I’m glad it’s you.” Raleigh’s gaze is adoring of everything that Mako is. Mako’s look is that of someone who deeply cares about this good man who doesn’t even understand how good he is. These two couldn’t care less what the other looked like or how adorable they are, these are the looks of two people who love who the other person IS.

(Source: keptyn)

Played 185,750 times



I wasn’t able to draw at the time the Pacific Rim sequel was announced, so to compensate, I animated all the drift compatibles dancing horribly in celebration of the upcOMING ANIMATED SERIES 8V



The thing about Pacific Rim for me, though

after Mako Mori and the glorious colour palette and that delightful uplifting score

is the unflinching optimism of it all

the idea that my generation, and the next, and the one after would look giant monsters in the eye and face the end of our world…


This is what happened after the end of the movie. You cannot convince me otherwise!!

(Credit for this idea goes to you, anonymous dude on 4chan. You’re awesome.)

FUCK YEAH MAKO MORI!: ave-atque-vale: favoritezipper: Okay, so I don’t agree that Raleigh is...



Okay, so I don’t agree that Raleigh is angry with Mako that she is criticizing him in the sparring scene, and I would think less of him if I interpreted his reaction as such? Raleigh is more mature than that; if he was found wanting by someone, he might…


Pacific Rim - Man, Machines, and Monsters

A concept of Raleigh Becket and Mako Mori looking out to sea from the Shatterdome walls by Guy Davis and Hugo Martin

Another depiction of the scene in which Raleigh and Mako talk on the Shatterdome ramparts by artist Keith Thompson

A page from Director Guillermo del Toro’s notebook depicting a flower blooming on the Shatterdome wall

Pacific Rim Is Not Your Average Action Juggernaut


Awesome review for Pacific Rim! Hopefully this is a game changer for Hollywood and how they create their films. See if you can come up with a list of action films where there is no overly sexualized female as well as a no romantic subplot. Very few. 

The Mako Mori Test: 'Pacific Rim' inspires a Bechdel Test alternative





Look at the bottom right panel. Look how Mako is holding her fists.  That is not a damsel in distress standing by idly as Raleigh acts as a white knight.  That’s a woman barely containing her own desire to punch Chuck in the face.  And ready to step in if Chuck had the upper hand instead of Raleigh.

The fact that Mako did NOT take off after Chuck herself doesn’t make her weak.  In fact it took great strength for her to not engage.  

And don’t think Raleigh was doing it just because he sassed Mako.  He’d been wanting to take a swing at Chuck for days by this point.  She was a convenient excuse.

Oh my god, ALL OF THIS. ALL OF IT. 

(Source: samwilsons)