The original Pacific Rim brought out my inner child with its gee-whiz spectacle of giant robots fighting giant monsters, and under the artistic vision of Guillermo del Toro. I was eager for a sequel, as was my inner child. Thanks to China, a sequel was granted, though del Toro left to go win Best Director and Best Picture at the Oscars. The new director replacing del Toro, Steven S. DeKnight, came to fame on shows like Buffy the Vampire Slayer, Spartacus, and Netflix’s Daredevil. DeKnight acquits himself well in a world of big-budgets and big worlds, and while Pacific Rim Uprising is definitely lesser than the original, it’s still a whole lot of fun. John Boyega (The Last Jedi) leads the way as the son of Idris Elba’s character. It’s been ten years since the events of the first film and humanity is considering replacing Jaeger pilots with more cost-efficient drones. Then a rogue Jaeger starts attacking the remnants of the fleet, and Boyega and a scrappy pre-teen girl have to team up with a bunch of other Jaeger recruits to save the day. Where the first Pacific Rim rode the wave carefully to find a middle ground between cheese and awe, this time the movie swerves far more into cheese. Stuff gets silly, but if you can’t abide a little silliness then what are you doing watching this movie? The mythology and world building deepen, building off the last film, and they even supply a motivation for the aliens. It does feel at times like a pilot for a TV series, Jaeger Academy, and oddly the plot seems to follow Independence Day 2, Iron Man 2, Ender’s Game, and then ends right back with Independence Day 2’s closing sales pitch for a sequel that was never destined to be. Boyega has a fine reserve of charm and much is asked of him since the remaining characters are pretty slight. The action takes place almost entirely in daylight, a positive change from the original. The monsters don’t appear until the final act, which is not a positive change. It’s fun, goofy, and entertaining in the way that Saturday morning cartoons of your youth were entertaining. Uprising probably won’t be saved by China this time, but if you’re a fan of the first I have to think you’ll still enjoy the sequel.
Nate’s Grade: B-
After years of rumors, highly influential comedian and television guru Louis C.K. has admitted that the sexual allegations against him are indeed true. Several women recently came forward in a New York Times article citing C.K. as asking them to watch him masturbate, forcing women to watch him masturbate, or masturbating over the phone with an unsuspecting woman. Right now in the new climate of Hollywood, it appears that C.K.’s comedy career is at a standstill if not legitimately over. And strangely amidst all this was the planned release of a little movie he wrote, directed and stars in called I Love You, Daddy, about a famous Hollywood director with rumors of sexual indecency. The movie has been pulled from release but not before screeners were sent to critics. I don’t know when the general public will get its chance to watch I Love You, Daddy, but allow me to attempt to digest my thoughts on the film and any possible deeper value (there will be spoilers but isn’t that why you’re reading anyway?).
Glen (Louis C.K.) is a successful TV writer and producer. He’s starting another show and Grace (Rose Byrne), a pregnant film actress, is interested in a starring role and perhaps in Glen himself. His 17-year-old daughter China (Chloe Grace Moritz) takes an interest in a much older director, Leslie Goodwin (John Malkovich), with a troubled past. Glen idolizes Leslie Goodwin but isn’t comfortable with the interest he’s shown in his underage daughter.
It’s impossible to resist the urge to psychoanalyze the film especially considering it’s otherwise a fairly mediocre button-pushing comedy. The biggest question that comes to mind is why exactly did C.K. bring this movie into existence? He hasn’t directed a film since 2002’s blaxploitation parody Pootie Tang. It didn’t even come into being until this past June, when C.K. funded it himself and shot it over the course of a few weeks. What about this story was begging to be brought to life, especially with C.K. as its voice? He didn’t have to make this. He brought this into the world. Given the controversial subject matter, C.K. must have known that the film would at minimum reignite the long-standing rumors of his own sexual transgressions. So why would he make I Love You, Daddy? This is where the dime-store psychiatry comes in handy, because after viewing the finished film, it feels deeply confessional from its author. It feels like C.K. is unburdening himself. I cannot say whether it was conscious or subconscious, but this is a work of art where C.K. is showing who he is and hoping that you won’t realize.
This is very much C.K.’s riff on Woody Allen movies and Woody Allen’s own troubled history of sexual impropriety; it’s an ode to Allen and a commentary on Allen (C.K. had a supporting role in Allen’s Blue Jasmine in 2013). It’s filmed in black and white and even follows a similar plot setup from Manhattan, where Allen romances a 17-year-old Mariel Hemingway. It’s about our moral indignation giving way to compromise once our own heroes are affected or whether or not our own lives can be benefited. The stilted nature of human interaction among a privileged set of New Yorkers is reminiscent of Allen’s windows into the world of elites. It’s an approach that C.K. doesn’t wear well, especially coming from his much more organic and surreal television series. The movie is trying to find a deeper understanding in the Woody Allen-avatar but never really does. I grew tired of most of the conversations between flat characters that were poorly formed as mouthpieces for C.K.’s one-liners and discussion points (and an N-word joke for good measure). Leslie is an enigma simply meant to challenge Glen on his preconceived ideas. Leslie isn’t so much a character as a stand-in for Woody Allen as stand-in for C.K.’s own fears of hypocrisy and inadequacy. And that begets further examination below.
In retrospect, looking for the analysis, there are moments that come across as obvious. C.K. has generally played a thinly veiled version of himself in his starring vehicles. Here he’s a highly regarded television writer and producer who seems to keep making new highly regarded television series. There are too many moments and lines for this movie not to feel like C.K. is confessing or mitigating his misdeeds. One of China’s friends, a fellow teen girl, makes the tidy rationalization that everyone is a pervert so what should it all matter? Sexuality may be a complicated mosaic but that doesn’t excuse relationships with underage minors and masturbating in front of women against their will. Glen says that people should not judge others based upon rumors and that no one can ever truly know what goes on in another person’s private life. There’s a moment late in the film where Glen is irritated and bellows an angry apology with the literal words, “I’m sorry to all women. I want all women to know I apologize for being me!” I almost stopped my screener just to listen to this line again. In the end, Glen has a fall from grace and loses his credibility in the industry. He’s told by his producing partner, “So you were a great man and now you’re not.” And the last moment we share with Glen before the time jump that reveals his fall from grace? It’s with China’s “everyone’s a pervert” friend and after she confesses that she once had a crush on Glen when she was younger and that she finds older men sexy. After a few seconds, he slightly lurches toward her like he’s going to attempt to kiss her and she recoils backwards. Glen interprets the moment very wrong and tries to make an unwanted move on a much younger woman. Yikes.
There’s also a supporting character that twice visually mimes masturbating in public. Yeah, C.K. literally included that gag twice. For a solid twenty minutes I didn’t know if Charlie Day’s character was real of a Tyler Durden-esque figment of Glen’s outré imagination. Day plays an actor with a close relationship with Glen. He’s not like any other character and seems to speak as Glen’s uncontrolled sense of id, urging him into bad decisions. During one of those furious masturbatory pantomimes (not a phrase one gets to write often in film criticism, let alone the plural) Day’s character is listening to Grace on speakerphone. This is literally the same kind of deviant act that C.K. perpetrated on a woman detailed in The New York Times expose. It’s gobsmacking, as if Bill Cosby wrote a best friend character that would drug women at a party he hosted, and Cosby wrote this after the rape allegations already gained traction. Double yikes.
As a film, I Love You, Daddy feels rushed and incomplete. The editing is really choppy and speaks to a limited amount of camera setups and shooting time. Locations are fairly nondescript and the entire thing takes on a stagy feel that also permeates the acting. C.K.’s television work has revolved around a very observational, natural style of acting and a style that absorbs silence as part of its repertoire of techniques. I Love You, Daddy feels so stilted and unrealistic and it’s somewhat jarring for fans of C.K.’s series. The actors all do acceptable work with their parts but the characters are pretty thin. You feel a lack of energy throughout the film that saps performances of vitality. There’s a method to the reasoning on presenting China as an empty character until the very end, which speaks to Glen’s lack of understanding of who his daughter is as a person. The overall storytelling is pretty mundane, especially for C.K. and the topic. He seems to open conversations on topics he believes don’t have easy answers, like age of consent laws, statutory rape, and judging other people based upon their reputations, and then steps away. The film wants to be provocative but fails to fashion a follow-through to connect. There aren’t nearly enough nuances to achieve C.K.’s vision as saboteur of social mores.
It feels like C.K. might have anticipated having to come forward and accept the totality of his prior bad behavior, and maybe he felt I Love You, Daddy was his artistic stab at controlling the reckoning he knew would eventually arrive. I would only recommend this movie as a curiosity to the most ardent fans of C.K. comedy. I Love You, Daddy delivers a few chuckles but it’s mostly a mediocre and overlong Woody Allen throwback companion piece. It’s harder to separate the art from the artist when that artist has complete ownership over the vision. As of this writing, I can still watch Kevin Spacey acting performances and enjoy them for what they are, mostly because he is one component of a larger artistic whole. In C.K.’s case, he writes, directs, stars, and it’s his complete imprint upon the material. I consider 2016’s Horace and Pete to be of nigh unparalleled brilliance that I wouldn’t hesitate to call it a modern American theatrical masterpiece that could sit beside Eugene O’Neill. So much of C.K.’s material was based around his brutal sense of self-loathing and now the audience might feel that same sensation if they sit down and watch I Love You, Daddy. Unless you want to do like I did and unpack the film as a psychological exercise of a man crying out, there’s no real reason to watch this except as the possible final capstone on C.K.’s public career.
Nate’s Grade: C
Pacific Rim is director Guillermo del Toro’s (Hellboy, Pan’s Labyrinth) giddy ode to the great monster movies of his youth, and if you’re fond of men in suits and large-scale cardboard destruction, then this movie is definitely for you. The word “awesome” seems too inadequate to describe the rock ‘em sock ‘em action of this picture. This is likely the most realistic and serious this concept will ever be realized, with a gargantuan budget and some top-notch special effects. del Toro, already something of a god in fanboy circles, will get his chiseled bust alongside Joss Whedon. Pacific Rim is a transporting blockbuster that doesn’t pull its punches, at least when it’s dealing with robots fighting monsters. If this is why del Toro dropped out of directing The Hobbit then I think it’s a good trade off.
In the near future, a rift opens at the bottom of the Pacific Ocean that opens a gateway to another dimension. Through this portal, giant horrifying monsters the size of skyscrapers appear to wreck havoc on coastal cities. The monsters, known as kaiju, take a whole lot of work to go down. “To battle monsters, we had to make monsters, “ say a character in the prologue. The world unifies and responds with a program where two people pilot giant mechanical robots known as jaegers (yes college kids, you read that right). These pilots are psychically linked via a process known as the Drift; they work in tandem, sharing one mind. Raleigh (Charlie Hunnam) is a former jeager pilot recovering from the loss of his co-pilot/older brother in battle. Stacker Pentecost (Idris Elba) recruits him back to the final days of the jaeger program, a defense that has fallen out of favor with world leaders once the kaiju started winning again. Stationed in Hong Kong, Raleigh is looking for a new co-pilot and by all accounts it seems Pentecost’s diminutive assistant, Mako Mori (Rinko Kikuchi), is the best candidate, though Pentecost won’t allow it. Add some wacky scientists (Charlie Day, Burn Gorman) and an underground monster parts trader (Ron Perlman). The last days of the beleaguered jaeger program are all that stand between mankind and annihilation from giant beasts.
It’s undeniable how well Pacific Rim taps into your inner ten-year-old, the kid who crashed his toys together imagining larger-than-life battles. Truthfully, if I were ten years old, I’d likely declare Pacific Rim the greatest movie of all time, that is, until I saw one with boobs in it. Conceptually, this feels like just about every anime brought to life, and fans of anime, as well as monster movies in general, should be in heaven. It’s so much fun to watch but it also doesn’t get lost in the cacophony of special effects like many modern blockbusters. del Toro has a wonderful way of showcasing his action without losing track of the scale or the destruction. Unlike Man of Steel, we have city-wide devastation that feels like devastation. Giant monsters are a state of life for the world and so is the day-to-day anxiety that one’s coastal existence is about to be in ruins. The movie doesn’t get bogged down in post-9/11 solemnity, but at the same time I appreciated that del Toro makes his violence feel significant and the loss feel real.
The action onscreen is often exciting and screenwriter Travis Beacham (Iron Man 3) employs a nice system of escalating the stakes by applying a category system to the kaiju, rating them on a 1-5 scale. It provides a natural progression of opponents. Plus, besides the inherent excitement with the premise, Beacham and del Toro drop us into the middle of this story, years after the jaegers have fallen out of favor as a means of defense, thus providing another hook – underdogs. Our heroes don’t just control giant fighting robots, they are also underdogs and have to prove their mettle to dismissive authority figures. I was hooked.
del Toro has always been a man who can create living, breathing worlds that you just want to explore, and Pacific Rim is the same. I loved immersing myself in the minutia of this world, learning the different fighting techniques of the robot designs, the cultures that harvest the kaiju bodies (there are monster groupies as well), the rock-star status of the jaeger pilots, and most of all, the Drift. Psychically linking the pilots is an ingenious way to add to the emotional investment of what are otherwise fairly clichéd character types. They have to be in synch mentally, which requires a whole other level of trust and connection. The tragic back-story of Raleigh is given even more weight knowing that not only was he witness to his brother getting eaten alive by a giant scary monster, he was psychically linked and felt his brother’s overwhelming fear and pain. That would definitely shake me. The Drift also provides a unique way to include back-story without feeling like forced exposition. Seeing Mako’s horrifying childhood survival account is quite affecting, but it works even better knowing this is also a chance for Raleigh to understand and bond with her. That sequence, Mako as a child, is stunning, staying with her pint-sized perspective as she tries to outrun a ferocious monster bearing down on her. It slows things down and allows the true terror of the situation to seep in. Beacham and del Toro have put a great amount of thought with how this world operates, and it’s appreciated as seemingly every detail adds to a richer big picture.
Naturally, the special effects are just about every positive accolade you can put together. It’s a CGI heavy film that doesn’t look like a cartoon; something Michael Bay’s Transformers have difficulty overcoming. The robot designs aren’t overly busy. In fact, the main robot reminds me a lot of Metroid’s Samus suit (anybody?). The monsters are all a bit too similar in design though. They all start to bend together making it hard to differentiate them from one another, especially when they’re supposed to be getting bigger and badder. Part of my lukewarm reception with the monster designs, besides from del Toro’s sterling past reputation when it comes to creature designs, is that so many of the epic fight scenes happen with some level of visual obfuscation. They fight at night, they fight in the rain, they fight in the fog, they fight underwater, but rarely will they fight in a setting where you can clearly focus on the fighters. This very well could be a budgetary decision, allowing less work for visual effects artists so they can cover the scope of del Toro’s imagination. Still, it’s hard for me to compose an argument that a $200 million-dollar movie needed just a bit more money to properly show off the goods.
When it’s not wrecking havoc onscreen, the story can drag and you’ll notice how thin the characters are developed. It’s another reluctant hotshot and learning to get over a personal tragedy, trusting a new co-pilot, and taking stern advice from a begrudging father figure. That doesn’t mean they don’t work within the framework of the story; Hunnam (TV’s Sons of Anarchy) is solid if unspectacular, Elba (Thor, TV’s Luther) is the universe’s most authoritative badass, Day (Horrible Bosses) and Gorman (The Dark Knight Rises) provide a nice array of comic relief, and Kikuchi (Babel, The Brothers Bloom) makes for a formidable upstart hero. The character roles are familiar and thinly sketched but they come together in a satisfying manner, each contributing to the mission, and each finding a moment to make you care. When the fate of the world is at stake, it’s hard not to feel some investment in our ragtag assembly of heroes. With that being said, you will still feel drag in the middle, waiting for the next attack and for our heroes to suit up and do what they do best. The extended second act involves denying Raleigh and Mako the opportunity to do what we all know they need to do – man a jaeger. It can get restless as we keep getting roadblocks to something that seems inevitable. It’s akin to waiting too long for John Reid to accept his outlaw status in The Lone Ranger. I will give Beacham and del Toro extra credit for not leaving themselves open for an immediate sequel. Also, do stay through the credits for a nice treat.
I can easily recommend Pacific Rim with minor reservations, and if giant fightin’ robots and monsters is your thing, then the reservations won’t even matter when you get a movie this entertaining, fun, and skilled at providing the gee-whiz factor. I wish all summer movies were this fun. I was squealing with glee watching a giant robot drag a cargo ship across the streets of Hong Kong, gearing up to beat down a huge monster. The movie is packed with little moments like that. As with other del Toro productions, the world feels nicely realized, lived in, and sprawling with detail, even if the monsters all start looking the same (monster racism?). The plot does suffer a bit when it refocuses on the humans, but then again what plot wouldn’t suffer when it takes you away from giant robots fighting aliens? Pacific Rim isn’t the first of its kind. Besides the anime, Godzilla, and even Power Rangers influences that spring to mind, there have been numerous movies that follow a similar premise of Giant Thing A squaring off against Giant Thing B. What sets Pacific Rim apart is del Toro’s innate ability to channel your childlike glee at the concept, turning something monstrous into something fun while still giving respect to the weight of the moment. This is not a dumb action movie. del Toro’s sprawling artistic sensibility takes on summer blockbuster filmmaking and shows you how it can be done right for optimal effect without making your brain hurt. Now I need round two.
Nate’s Grade: B+
The true joy of Horrible Bosses, besides the vicarious premise, is the interaction and camaraderie of a rock-solid cast of comedians. Jason Bateman (Juno), Jason Sudekis (TV’s Saturday Night Live), and Charlie Day (TV’s It’s Always Sunny in Philadelphia) play the three put upon friends who conspire to kill their not so very nice bosses, respectively played by Kevin Spacey, Colin Farrell, and Jennifer Aniston. The comedy is amusing from start to finish, prone to plenty of guffaws and a few big laughs. The film strikes a delicate tone while being nasty without being too brutish or oft putting. This is not a scorched-earth sort of comedy despite its murderous implications. The guys are more bumbling than threatening, which makes even their criminal pursuits clumsy and endearing. It’s got plenty of surprises and I enjoyed how most of the storylines and players wound up back together. It’s a satisfying movie that veers in some unexpected directions. But the real reason to see Horrible Bosses is just how damn funny the cast is. The snappy screenplay establishes a solid comedic setup and lets the leads bounce off one another to great hilarity. Whether arguing over who would be most raped in prison, the ins and outs of killing on a budget, or the dubious nature of hiring hit men under the “men seeking men” section online, the three leads all bring something different to the comedic table, and watching them interact and play around with the situation is a delight. It’s a buddy comedy with a dash of Arsenic and Old Lace. While the characters are more exaggerated stock types, the comedy, kept at a near breathless pace by director Seth Gordon (King of Kong, Four Christmases), is refreshing, smartly vulgar, and not afraid to get dark. Watching Aniston play against type as a sex-crazed man-eater is enjoyable, but hands down, no one does sadism with the same joy as Spacey. That man could melt a glacier with the intense power of his glare. Horrible Bosses is a relative blast of a comedy, one that maintains a steady output of laughs with some easy targets.
Nate’s Grade: B+