A ragtag band of humans band together in the year 2025 to fight legions of monstrous creatures rising from the sea. Using massive piloted robots to combat the alien threat, earth’s survivors take the fight to the invading alien force lurking in the depths of the Pacific Ocean. Nearly defenseless in the face of the relentless enemy, the forces of mankind have no choice but to turn to two unlikely heroes — a washed up former pilot and an untested trainee — who now stand as earth’s final hope against the mounting apocalypse.
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Credits: TheMovieDb.

Film Cast:

• Raleigh Becket: Charlie Hunnam
• Mako Mori: Rinko Kikuchi
• Stacker Pentecost: Idris Elba
• Herc Hansen: Max Martini
• Tendo Choi: Clifton Collins Jr.
• Hannibal Chau: Ron Perlman
• Dr. Newton Geiszler: Charlie Day
• Dr. Hermann Gottlieb: Burn Gorman
• Chuck Hansen: Robert Kazinsky
• Lt. Aleksis Kaidanovsky: Robert Maillet
• Lt. Sasha Kaidanovsky: Heather Doerksen
• Tommy T: Larry Joe Campbell
• Miles: Brad William Henke
• Yancy Becket: Diego Klattenhoff
• Wizened Man: Santiago Segura
• Raleigh and Yancy’s Mom: Jane Watson
• Hannibal Chau Thug: Jung-Yul Kim
• Officer: Joshua Peace
• Young Mako: Mana Ashida
• Captain Merrit: Joe Pingue
• McTighe: Milton Barnes
• 1st Officer: Brian Frank
• Gipsy Danger AI (voice): Ellen McLain
• Old Man on Beach: David Fox
• Child: Jake Goodman
• American UN Representative: Robin Thomas
• British UN Representative: Julian Barnes
• Canadian UN Representative: David Richmond-Peck
• Engineer: Sebastian Pigott
• Chinese Girl in Anti-Kaiju Refuge: Victoria Marie
• TV Reporter: J.C. Kenny
• Raleigh and Yancy’s Dad: Robert Morse
• Saltchuck Crew: Mike Chute
• Saltchuck Crew: Duncan McLeod
• Saltchuck Crew: Louis Paquette
• Saltchuck Crew: Matthew G. Taylor
• UN Representative: Frank Nakashima
• UN Representative: Terry Belleville
• UN Representative: Farzad Sadrian
• UN Representative: Mishu Vellani
• UN Representative: Clive Walton
• Young Mako’s Father: Peter Kosaka
• Young Mako’s Mother: Yiren Stark
• Wei Tang Triplet: Mark Luu
• Wei Tang Triplet: Charles Luu
• Wei Tang Triplet: Lance Luu
• Engineer (uncredited): Willie Wong
• Extra (uncredited): Simu Liu

Film Crew:

• Director of Photography: Guillermo Navarro
• Supervising Sound Editor: Scott Martin Gershin
• Production Design: Andrew Neskoromny
• Casting: Margery Simkin
• Supervising Art Director: Richard L. Johnson
• Production Design: Carol Spier
• Foley Artist: Catherine Harper
• Foley Artist: Christopher Moriana
• Special Effects Coordinator: Laird McMurray
• Editor: Peter Amundson
• Special Effects Supervisor: Clay Pinney
• Supervising Art Director: Elinor Rose Galbraith
• Producer: Guillermo del Toro
• Concept Artist: Raúl Monge
• Unit Production Manager: Callum Greene
• Casting: Robin D. Cook
• Key Makeup Artist: Colin Penman
• Original Music Composer: Ramin Djawadi
• Second Assistant Camera: Alan G. Kelly
• Producer: Thomas Tull
• Director of Photography: Checco Varese
• Producer: Jon Jashni
• Director of Photography: Richard Brooks Burton
• Editor: John Gilroy
• Musician: Tom Morello
• Concept Artist: Wayne D. Barlowe
• Story: Travis Beacham
• Orchestrator: Stephen Coleman
• Producer: Mary Parent
• Concept Artist: Simon Webber
• Fight Choreographer: Bradley James Allan
• Key Makeup Artist: Pipsan Ayotte
• Costume Design: Kate Hawley
• Art Direction: Sandi Tanaka
• Foley Mixer: Nerses Gezalyan
• Foley Artist: James Moriana
• Foley Artist: Jeffrey Wilhoit
• Set Designer: Vladislav Fedorov
• Makeup Department Head: Jordan Samuel
• Set Decoration: Peter Nicolakakos
• Unit Production Manager: Michelle Russell
• Second Assistant Art Director: Jeremy Gillespie
• Foley Artist: Gary A. Hecker
• Digital Imaging Technician: C.J. Roy
• Steadicam Operator: Gilles Corbeil
• Still Photographer: Kerry Hayes
• Concept Artist: Francisco Ruiz Velasco
• Camera Operator: Anton Van Rooyen
• Art Direction: Andrew Li
• Set Designer: Peter Bodnarus
• Set Designer: Andra Totirescu
• Second Assistant Art Director: Yasmyn Lee
• Property Master: Christopher Geggie
• Supervising Carpenter: Phillip Tellez
• Cableman: Jason McFarling
• Location Manager: Fred Kamping
• Foley Artist: Gary Marullo
• Script Supervisor: Dug Rotstein
• Sound Re-Recording Mixer: Gregg Rudloff
• Sound Re-Recording Mixer: John T. Reitz
• Color Timer: George Chavez
• Dialogue Editor: Margit Pfeiffer
• Sound Effects Editor: Tim Walston
• Assistant Art Director: David Best
• Leadman: Carlos Caneca
• Second Assistant Art Director: Stefany Koutroumpis
• Chief Lighting Technician: Michael L. Hall
• Set Designer: Humberto Garcia
• Sound Re-Recording Mixer: Tim LeBlanc
• First Assistant Editor: James W. Harrison III
• Script Supervisor: Shane B. Scott
• CG Supervisor: John H. Han
• Camera Operator: Perry Hoffman
• Set Designer: William Cheng
• Camera Operator: Angelo Colavecchia
• Set Designer: David G. Fremlin
• Property Master: Ron Hewitt
• Visual Effects Supervisor: James E. Price
• Visual Effects Supervisor: John Knoll
• Visual Effects Supervisor: Nigel Sumner
• Aerial Coordinator: Wendy Wong
• Assistant Location Manager: George Wong
• Mix Technician: Ryan Murphy
• Assistant Chief Lighting Technician: Gary Deneault
• ADR Supervisor: Becky Sullivan
• Sound Effects Editor: Dan Hegeman
• Visual Effects Coordinator: Wendy Chesebrough Lowe
• Music Editor: Peter Myles
• Digital Intermediate Producer: Adam Ohl
• Sound Effects Editor: Peter Zinda
• Key Hair Stylist: Teresa Buccione
• Assistant Hairstylist: Cliona Furey
• Assistant Art Director: Itsuko Kurono
• Leadman: Kevin Haeberlin
• Digital Intermediate Editor: Erik Kaufmann
• Dialect Coach: Nadia Venesse
• VFX Artist: Daniel Perez Ferreira
• Visual Effects Producer: Jason Heapy
• Location Manager: Johnny Wang
• Sound Effects Editor: Stephen P. Robinson
• Hair Department Head: Paul R.J. Elliot
• Set Designer: Brad Milburn
• Leadman: Patricia Larman
• Sound Effects Editor: Scott Wolf
• First Assistant Sound Editor: David Stanke
• Unit Publicist: Joe Everett
• Concept Artist: David Meng
• Chief Lighting Technician: Tom Starnes
• Production Controller: Elaine Thurston
• Assistant Art Director: Andrew Redekop
• Construction Coordinator: Joe Curtin
• Costume Set Supervisor: Ciara Brennan
• Animation Supervisor: Hal T. Hickel
• Stunts: Alain Moussi
• Compositing Supervisor: Jon Bowen
• ADR Editor: Lauren Hadaway
• Compositors: Erik Classen
• Visual Effects: Scott F. Johnston
• Compositors: Brian N. Bentley
• Visual Effects: Weicheng Jiang
• Animation Supervisor: Chris Lentz
• Visual Effects Production Manager: Hui Ling Chang
• CG Supervisor: Ryan Hopkins
• Digital Effects Supervisor: Yuhon Ng
• CG Supervisor: David Meny
• Hairstylist: Ryan Reed
• Supervising Carpenter: Paul Jefferson
• Costume Supervisor: Renee Fontana
• Sound Effects Editor: Csaba Wagner
• Visual Effects Editor: Greg Hyman
• Visual Effects Producer: Erin D. O’Connor
• Production Coordinator: Marie-Claude Harnois
• Unit Production Manager: D.J. Carson
• First Assistant Camera: Christopher Raucamp
• Boom Operator: Alan Zielonko
• Foley Editor: Masanobu ‘Tomi’ Tomita
• Camera Operator: Johnny Askwith
• Sound Mixer: Glen Gauthier
• Choreographer: Troy P. Liddell
• Special Effects Supervisor: Rocco Larizza
• First Assistant Camera: Mark Cyre
• First Assistant Camera: Joseph Micomonaco
• Assistant Editor: Cam McLauchlin
• Visual Effects Producer: Alison O’Brien
• Key Makeup Artist: Patricia Keighran
• Assistant Editor: Lara Khachooni
• Orchestrator: Andrew Kinney
• Chief Lighting Technician: David Lee
• Key Rigging Grip: Bernie Lalonde
• First Assistant Editor: Steve Bobertz
• Concept Artist: TyRuben Ellingson
• Concept Artist: Simon Lee
• Storyboard Artist: Rob McCallum
• Set Dresser: Gareth Wilson
• Concept Artist: Guy Davis
• Boom Operator: Steve Switzer
• Set Designer: Rudy Braun
• Concept Artist: Keith Thompson
• Concept Artist: Oscar Chichoni
• Production Coordinator: Elspeth Cassar
• Key Grip: Rick Stribling
• Negative Cutter: Mo Henry
• Sound Effects Editor: Charlie Campagna
• Foley Mixer: Darrin Mann
• Compositing Supervisor: Jeff Sutherland
• Assistant Production Coordinator: Courtenay Bainbridge
• Visual Effects Coordinator: Ryan Cunningham
• Camera Operator: John Colavecchia
• First Assistant Camera: Andy Jekabsons
• First Assistant Camera: Benjamin Smith
• Assistant Accountant: Shamu Naidu
• Set Designer: Sorin Popescu
• Digital Intermediate: Matt McFarland
• Assistant Editor: Brigitte Rabazo
• Assistant Art Director: Harold Gay
• Assistant Production Coordinator: Jonathan Pencharz
• Set Dresser: Karl Denniston Brown
• Set Dresser: Toni Wong
• Orchestrator: Tony Blondal
• Second Assistant Art Director: J. Ryan Halpenny
• Assistant Chief Lighting Technician: Phil Whitfield
• Second Assistant Art Director: Jeff Smith
• Assistant Accountant: Debbie Van Dusen
• Assistant Accountant: Lincoln D’Souza
• Key Grip: Wing Ma
• Second Assistant Art Director: Corinna Schmitt-Porsia
• Assistant Costume Designer: Roslyn Hanchard
• CG Supervisor: Victor Schutz
• Concept Artist: Doug Williams
• Set Designer: Russell Moore
• Assistant Art Director: John Moran
• ADR Mixer: Thomas J. O’Connell
• Key Grip: Robert Daprato
• Concept Artist: Stephen Schirle
• Visual Effects Supervisor: Zachary Tucker
• On Set Props: Kevin Lise
• Set Dresser: Colin Adams
• Foley Mixer: Brett Voss
• Extras Casting: Zameret Kleiman
• Concept Artist: Allen Williams
• Cableman: Craig Baker
• Digital Compositor: Fangfei Li
• Visual Effects Production Manager: Russell Lum
• Visual Effects Supervisor: Lindy DeQuattro
• Key Hair Stylist: Sondra Treilhard
• Set Designer: Matt Middleton
• Assistant Art Director: Jon Hunter
• CG Supervisor: Pat Conran
• Second Assistant Camera: Jeff DaSilva
• Digital Intermediate Colorist: Maxine Gervais
• Visual Effects Production Manager: Danielle Rubin
• Animation Supervisor: Derrick Carlin
• Best Boy Grip: Jim Holmes
• Key Grip: Christopher Dean
• Assistant Accountant: Kyla McFeat
• Second Assistant Camera: Julia Seidman
• Second Assistant Camera: Amanda Wojtaszek
• Post Production Assistant: Bobbie Shay
• CG Supervisor: Tim Belsher
• Set Dresser: David Lylloff
• 24 Frame Playback: Peter Gmehling
• Digital Imaging Technician: Sandra Lombardi
• First Assistant Camera: John Saysana
• Lighting Technician: James Banfield
• Rigging Gaffer: Pierre Berube
• Second Assistant Camera: Tara Dixit
• Second Assistant Camera: Stephan Maia
• Costume Set Supervisor: Michele Harney
• Assistant Accountant: Lara Alexander
• Assistant Accountant: Gerry Alfonso
• Assistant Accountant: Katharine Boyce
• Assistant Accountant: Stephanie Massarella
• Assistant Accountant: Valerie Phillips
• Assistant Accountant: Erin Renton
• Assistant Accountant: Candace Tempelmeyer
• Assistant Accountant: Kevin Michael Schembri
• Dialogue Coach: Scott Perry
• Production Accountant: Man Fong
• Production Assistant: Christian Dendias
• Production Assistant: Vicki Henton
• Production Assistant: Adam Meaden
• Production Assistant: Sam Rosati
• Production Assistant: Emma Tamblyn
• Production Assistant: Fermin Balado
• Production Assistant: Brandon Balon
• Production Assistant: Jonah Greisman
• Production Assistant: Christopher Lori
• Production Coordinator: Feyon Li
• Production Secretary: Lucia Haliburton
• Extras Casting Assistant: Jane Spencer
• Assistant Editor: Jade E. Chatham
• Post Production Assistant: Lauren Brandon
• Assistant Location Manager: Mark McFadden
• Digital Compositor: Luke Vallee
• Matte Painter: Alex Nice
• Visual Effects Producer: Javier Jimenez
• Visual Effects Production Manager: Daniel Cavey
• Animatronics Designer: Brian Claus
• Sound Mixer: Thomas Hayek
• Production Manager: Joanne Jackson
• Unit Production Manager: Dustin Bernard
• Assistant Art Director: Joelle Craven
• Assistant Art Director: Timothy Peel
• Concept Artist: Hugo Martin
• Concept Artist: Carlos Salgado
• Props: Sang Maier
• Second Assistant Art Director: Barbara Agbaje
• Set Dresser: George Cribb
• Set Dresser: Sarah Gardner
• Set Dresser: John Mainwaring

Movie Reviews:

• GeekMasher: First I want to say I liked this movie. I was surprised, I’ve been hearing bad reviews but I can’t see big problem. The only issues was with the story. Apart from that the graphics where very good. The actors where okay (no major actors) and the baddies (no spoilers) where well thought out and graphically impressive (same for the robots).

  All in all a good movie.

• Matt Golden: When monstrous, building-sized creatures (dubbed “kaiju”) hell-bent on destruction begin pouring out of an extra-dimensional fissure at the bottom of the Pacific Ocean, humanity bands together to build titanic mechas called jaegers, each controlled simultaneously by two pilots whose minds are linked through a neural bond called “The Drift.” As the kaiju get stronger and the signs point to an all-out flood of the beasts, the fate of humanity looks bleak, and the surviving jaegers are brought together for one last-ditch attempt at saving the world.

  After an agonizingly long five-year wait, filled with some heartbreaking starts and stops (like the almost-weres of The Hobbit and At the Mountains of Madness), Guillermo del Toro has finally returned with his biggest budget and story yet. The Mexican master of fantasy returns to the toybox of his youth, drawing from the kaiju films of old (Godzilla, Gamera, Mothra, and the like) and anime to create the modern-day monster movie we didn’t even know we wanted.

  I am a genre man through and through, and del Toro’s films are filled with both the intelligence of the best of science fiction, fantasy, and horror and a flawlessly-rendered vision unique to him. His innate knowledge of what makes those outlandish stories truly matter to us is the backbone of his work as a writer and director, and his visual style is one that invokes true wonder.

  It’s that wonder, that childlike glee that makes Pacific Rim work so well, and well it does work. This is a brawny, massive film made by a true artist and auteur at the top of his game, but while the technicals of this film could have been mounted by any number of working directors, the magic of Guillermo del Toro is that he infuses every film with himself. His love of the material, whatever it may be, shines brightly through every frame. It is this complete sincerity that makes his films such a joy to experience, and even when there are 250-foot behemoths slugging it out on the screen, there’s not a trace of the disastrous irony or cynicism so readily supplied by other blockbusters anywhere to be found.

  The cast gamely comes to play, with Idris Elba (TV’s Luther) as Stacker Pentecost (one of my favorite character names of all time) as the stoic leader of the jaeger program, Charlie Hunnam (TV’s Sons of Anarchy) as former pilot Raleigh Becket, who suffered a tragic loss and has to be convinced to return to jaeger service, and Oscar-nominated Rinko Kinkuchi (Babel) as Mako Mori, another life touched by the kaiju and ready to serve up some righteous fury. If these sound like tried-and-true archetypes, it’s because they are. This is a grand, epic war film on a bigger scale than anything ever attempted before in that genre, and one of the strokes of genius from del Toro and original writer Travis Beacham is that we instantly establish and identify with the characters onscreen. There are so many ideas flying around (monsters, mechas, neural bonding, kaiju culture, and many, many more) that the broadly-drawn characters serve as a perfect anchor for the audience, immediately relatable in their inherent humanity.

  It seems that the mission statment of this movie was, in a word, “texture.” Del Toro delivered a visual feast unlike any other big spectacle films, with his insistence on it not looking like a “glossy car commercial.” Instead, every frame is filled with rain, snow, scuffs, smoke, debris, and other visual elements that reflect the weight and dimension of these cyclopean combatants. Unlike the ultra-glossy (and emotionally irrelevant) Transformers films, or virtually any other modern big-budget actioner, this universe feels dirty, grungy, and lived-in, like the original Star Wars trilogy.

  In fact, dubbing a film “this generation’s Star Wars” has been overused to the point of robbing the phrase of all meaning. But Pacific Rim feels just like that. It invokes those most elusive of emotions in the modern studio film: wonder, awe, and sheer enjoyment. Do you remember the awe you felt upon seeing a Star Destroyer creep onto the screen? Discovering a brachiosaurus on Isla Nublar? Laying eyes on the verdant fields of Middle Earth? This film has that. No one builds worlds like del Toro, and here he is, the master, inviting you to play in his sandbox with him. Grab your favorite action figure and hop in.

• VolcanoAl: My favorite movie for years!!!I absolutely love this movie!No big story.A lot of action.The only bad thing is all the fights are at night & in the rain.A bright daylight fight would have really made it great!!!
• Andres Gomez: This movie has almost everything that is expected from it so just relax lay back with the pop corn and your soft drink and enjoy.

  Just to make noticeable the remarkable few amount of females featuring in the movie and how bad is that Travis Beacham and Guillermo del Toro just copy Evangelion’s idea without giving anything back.

• Per Gunnar Jonsson: I have to say that I enjoyed this pure special effects movie quite a lot even though the plot is totally ridiculous. Clumsy giant robots beating at alien beasts with their fists should be better than modern tanks and airplanes with modern explosive and armor penetrating weapons? As I said, a ridiculous story. Well it does not really matter does it because the story gives an excuse for some real cool special effects loaded action. Giant robots and alien Godzillas in the same movie. Cool, simply cool.

  Once you have gotten past the silliness of the story it is a very entertaining rollercoaster ride of action. The scenes where the robots and aliens go head to head is visually very enjoyable. Sometimes they make you laugh as well. For instance the scene where Gipsy Danger (one of the robots) drags a cargo ship after it to use as a club.

  Unfortunately a somewhat somber mood is set right from the start by the fact that the Jaeger program is discontinued. Not because they are really defenseless as the movie blurb states but because dumbass politicians wants to save money as usual. Instead they build giant walls that are subsequently breached in hours. As I said, dumbass politicians. I guess they wanted to put some realism into the movie!

  As much as the robot and alien action is tremendously enjoyable I think some of my favorite scenes are the ones with Ron Perlman as Hannibal Chau. I have always liked Ron Perlman and he is simply outrageously (as in funny) wacky as Hannibal Chau.

  The one thing I did not like with the movie is the ludicrous nonsense statements about the dinosaurs being the first attempt at an invasion. Whoever wrote that must be an idiot. Worse, the fact that it made it into the movie means that someone believes that the audience are idiots. When it then was followed by some green-religious crap that the atmosphere was not right for them then but that we have now “terraformed” earth for them by our pollution it was at least a star off just for that. I hate it when they put crap like that in the movies. It is an insult to the audience.

  Anyway, despite the dinosaur nonsense I found it a very enjoyable movie. Without that it would have received a near top rating but as I said, it is at least a star off due to that crap.

• Teemu: Watching a CGI heavy movie 5 years following its release doesn’t sound like such a hot idea, but in the case of Pacific Rim nothing really drew me out of the experience in terms of aging animation.

  However, the film itself was an ‘okay’ at best. Aside from the spectacle CGI fights of giants robots versus giant alien monsters it doesn’t offer anything of value. This is one of those movies you can safely keep on your second monitor and zone out in between the set piece fight scenes.