Back to School #65: Mean Girls (dir by Daniel Waters)


Mean Girls Poster

Mean Girls is a film that has a lot of nostalgic importance for me.  It came out when I was a senior in high school and it was the last film that I saw before I graduated.  So, for me, Mean Girls always brings back memories of the excitement of knowing that my “real” life was about begin.  When I watch it or think about it, I’m always transported back to that time when the future seemed limitless.  I knew I was going to go to college, I was going to meet the love of my life, and I was going to have a great time doing it.  Thoughts of Mean Girls transports me back to one of the most exciting times of my life and, for that reason, I like to think of it.

Add to that, Mean Girls happens to still be a pretty funny and perceptive movie.

One thing that I do always find interesting about films like Mean Girls and 10 Things I Hate About You is that, even though they may be critical of the traditions of high school, they all seem to be taking place in the type of idealized high school that we all wish that we could have attended.  These high schools are always huge with brightly colored walls and quick-witted students who never have a bad hair day.  The rich, popular kids are always so clever with the way that they express their disdain.  And even the outcasts are still pretty good-looking.  Even more importantly, the outcasts are always so sarcastic and political.  They don’t just accept their outcast status.  Instead, they spend all of their spare time plotting ways to overthrow the system.  Perhaps best of all, all of the various cliques have such clever nicknames.

From my experience, most public high schools aren’t actually like this.  Then again, I went to high school in Texas and most of these films were made in California so maybe it’s just a west coast thing.  The important thing about a film like Mean Girls is that, even though it takes place in a heightened reality, there’s still enough reality that anyone watching it can relate to the film’s story.

(It’s been my experience that even real life mean girls love Mean Girls, mostly because I think everyone assumes that in high school, they were one of the clever, sarcastic outcasts, regardless of whether they actually were.)

In Mean Girls, the popular clique is nicknamed the Plastics and they’re led by Regina George (Rachel McAdams).  New student Cady  (Lindsay Lohan) is the latest member of the clique but what the Plastics do not suspect is that Cady is actually an infiltrator who has been recruited by outcasts Janis (Lizzy Caplan) and Damien (Daniel Franzese) to take down the Plastics from the inside.  However, as Cady goes out of her way to destroy Regina’s reputation and turn the rest of the school against her, she soon discovers that she’s running the risk of becoming just as mean as Regina…

Mean Girls is a comedy but, at its center, there rests a very important message about the need for people to not … well, to not be mean.  That may seem like a simplistic message and I guess it is.  But it’s still a good message to get out.  The script by Tina Fey is both clever and funny, deftly mixing the message with the comedy.  Finally, the film has a great cast, with Lindsay Lohan and Rachel McAdams as stand-outs and great supporting turns from Amanda Seyfried, Lacey Chabert, and Tim Meadows.

Thanks for the memories, Mean Girls!

Mean Girls

Review: Pacific Rim (dir. by Guillermo Del Toro)


PacificRimIMAX“2,500 tons of awesome” — Newton Geizler

I’ll just say it outright and get it out of the way and say that Guillermo Del Toro is one of the few filmmakers whose body of work has earned him my admiration. The Mexican-born filmmaker has made some of the most fully-realized and visually-beautiful films of the last twenty years. It doesn’t matter whether its genre staples like Blade II and the two Hellboy films or arthouse fares like The Devil’s Backbone and Pan’s Labyrinth, Del Toro has a unique talent for making one believe in the world his films inhabit. This is probably the reason why Peter Jackson had tapped him to direct the film adaptation of J.R.R. Tolkien’s The Hobbit. The man just has an eye for every detail, no matter how big or small, that he believes will add to the overall experience of watching his films.

When delays and behind-the-scenes studio bickerings kept the production of The Hobbit from moving forward Del Toro was already two years into pre-production of the long-awaited new trilogy, but finally backed out. He would try to make one of his dream projects his next move with the film adaptation of H.P. Lovecraft’s classic At the Mountain of Madness. This was a film that looked to set the horror and genre scene by storm. It was a story that was right in Del Toro’s wheelhouse. The film would require him to create a believable world where cosmic Elder Gods and Old Ones existed and still make it terrifying and awe-inspiring. But once again his ideas would require a huge budget from the studios and his stance on making the film an R-rated one finally shelved it (though hopefully not for good).

With two major productions either cancelled or dropped out of, Guillermo Del Toro was now without a film to direct and it’s been years since his last (Hellboy II: The Golden Army). Maybe it was providence or just plain ol’ dumb luck, but in comes a screenplay from Travis Beacham which included such terms as “Jaegers” and “Kaiju” and Del Toro finally got a film that wasn’t an adaptation of someone elses work, but something he could build from the ground up and make his own. That film was and is Pacific Rim.

Pacific Rim finally arrives in cinemas around the world and it couldn’t come at a better time. The last couple years have seen summer blockbusters get bigger and bigger. Each new blockbuster tried to outdo the next with something more extravagant, louder and, to their detriment, more complex and convoluted in their storytelling. This is not the case for Pacific Rim which comes in with a simple premise that managed to stay together from start to finish: giant robots fighting giant monsters.

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From that idea was born a film that lends itself well into Guillermo Del Toro’s visual and world-building talent. He had to find a way to make this film, that harkens back to the old kaiju films from Japan’s Toho studio and its mecha/giant robot anime genre, a believable world where adventure and spectacle ruled and not post-modern deconstruction and cynical characters and storytelling. It’s an endeavor that succeeds, though not perfectly, to do more than just entertain but also show that sometimes the old ways of telling a story does belong in this new world of hi-tech filmmaking.

The plot to Pacific Rim is simple enough and an extended opening prologue narrated by one of it’s lead character (Charlie Hunnam of Sons of Anarchy fame playing the role of Jaeger pilot Raleigh Becket). Sometime in the very near future an interdimensional rift (called The Breach) in the Pacific Ocean where two tectonic plates meet open up to allow gigantic creatures dubbed by people as “kaiju”. These kaiju wreak destruction and havoc on a massive scale to the world’s Pacific coastline cities like San Francisco, Manila, Cabo and Tokyo. When conventional military means take too long and and only nuclear options remain on the table the world’s governments band their resources and technical know-how to find a new weapon to combat these kaiju. In comes the “Jaeger Program” where two pilots control 25-story tall giant robots through a “dark science” called “The Drift” to finally fight the kaiju on even terms.

We see through this prologue how the “Jaegers” and their pilots have become rock stars in the eyes of the public as their successes stems and stops the tide that’s been destroying cities in the Pacific Rim for years. It’s also in this prologue that we get to the point of the film where this success has led to overconfidence and the beginning of the end of not just the “Jaeger Program” but that gradual slope that leads to humanity’s inevitable extinction.

The bulk of the film deals with the last few days of the war when the world’s government have stopped funding the Jaeger Program and instead have pooled all resources and manpower towards building massive anti-kaiju walls along city coastlines as a measure of defense. The Jaeger Programs leader, Marshal Stacker Pentecost (played by the ever-present Idris Elba who seem to live the role), believes that his Jaegers and the Rangers piloting them still can finish the war once and for all with a final strike on The Breach with the remaining four Jaegers left in his arsenal. When the politicians tell him no he resorts to dealing with the less than legitimate sector to fund this final strike. But for this last mission to succeed he needs one of his best pilots back from the brink of remorse and mourning to pilot an older, refurbished Jaeger by the name of Gipsy Danger.

From then on the film takes on the premise that Del Toro promised when he first took on the project. We finally get to see giant robots fighting giant monsters.

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Pacific Rim lives on it’s simplicity. Whether the simplicity of it’s story, dialogue, characters and themes. The film works within those parameters and does it well. One never feels lost with in the film’s narrative. There’s nothing convoluted with this film’s story. Some have said this need to be simple is an inherent flaw. I would agree with this if someone with less talent took on the job. Del Toro understands that keeping the story simple doesn’t mean dumbing it down, but keeping the promise of what the audience expects from a genre film of giant robots fighting giant monsters needs to deliver. The film’s simplicity allows for the story to flow from it’s hi-octane action sequences to it’s more personal moments without having it seemed forced.

Even the characters themselves come off as the archetypes of past adventure films. Whether it’s the stern father figure leading the pack to the hot-shot hero looking to redeem himself for a past failure to the cocky rival whose hothead personality acts as a counter-balance to the hero’s. Even the mysterious newcomer whose past acts as one of the film’s central emotional anchors harkens back to an earlier era of storytelling that preceded the more realistic and gritty era of film narrative born during the late 60’s and 70’s.

These characters some would call one-dimensional or plain cardboard cutouts, but in the context of the film being seen they work. We get enough of what motivates each character to fully understand why their characters do what they do in the film. The motivations range from honor-bound duty to accomplishing the mission, to revenge, redemption and just plain old-school heroism. Yes, this film brings back heroism minus the recent trend to downplay such an archaic notion. The film treats heroism as something noble born out of the shared sacrifice and the need to do what’s right and to protect not just the person next to them but everyone else who cannot fight the monsters that are at their doors.

The characters of Raleigh Becket, Stacker Pentecost, Mako Mori (played by Oscar-nominatedted actress Rinko Kikuchi who channels her inner anime not just in her attitude but even her appearance) and even the dueling scientists Newton Geizler and Gottlieb (played with manic and eccentric enthusiasm by Charlie Day and Burn Gorman respectively) all come off as heroes who accepts the challenge and nobility inherent in the term. They don’t balk at the duty put on their shoulders, but go full-bore in making sure what they do doesn’t have any moments of self-doubt or cynicism. These are characters who don’t become heroes because they were forced into it. They’ve made their choice and thus have to realize that taking on the mantle of heroism would mean making the ultimate sacrifice.

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Yet, for all the talk of themes and narrative styles the film will ultimately live or die on the film’s promise. Does the giant robot fighting giant monsters hold up?

I can honestly say that it does and goes beyond what the studios have been hyping it up to be.

The action sequences between the Jaegers and the kaiju have to be some of the best action sequences of the past decade if not even farther back. It’s a loving homage to the classic daikaiju and mecha of old from Japan that Westerners grew up watching on Saturday mornings on the local UHF channels. It’s mecha anime like Mazinger Z, Macross, Gundam, Neon Genesis Evangelion, Tetsujin-28, Tengen Toppa Gurren Lagann and many others seamlessly melded with the old-school monsters flicks from the Toho Studios with kaiju bearing the iconic names of Godzilla, Gamera, Rodan, Mothra, King Ghidorah and many more. Pacific Rim is a film aimed at the inner-child of men and women who grew up watching these films and shows, but also one that seeks to fire up the imagination of the current generation of children who have been fed on the latest trend of snarky and self-doubting heroes.

The fights between the the jaegers and kaiju also does one thing that most Hollywood filmmakers who make action films have been unable to pull off. I’m talking about action sequences that remains as kinetic and explosive as any we’ve seen in the past but also aware of it’s space and environment. Pacific Rim’s action sequences never come off as being confusing. There’s no hand-held, cinema verite stylistic choices when it came to filming these sequences. We know exactly which jaeger is doing to fighting and which kaiju is fighting back. Even while set mostly at night and in the rain (or in some cases in the water and underneath in ocean), these fights and the digital effects created by ILM (with some practical ones from Legacy Effects) come off just as clear as if they were done for daytime. In fact, having them set at night with the many differing kinds of light sources available in the scene sometimes gave the fight scenes an almost psychedelic look with Hong Kong’s neon-lit streets and cityscape to the reflected bio-luminescence of the kaiju to the utilitarian lights on the jaegers themselves.

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Yet, it still all comes down on whether the promised throwndown delivers and yes it does. We’ve come to learn that even ILM can make the most awesome looking digital effect visuals but still having them end up being confusing because of the filmmaker involved. Some have called this the Michael Bay Effect. Even some of today’s most visually talented filmmakers have fallen prey to it, but not Del Toro who eschews rapid-fire editing and shaky-cam moves. He instead goes from strady shots both close-up and wide to show the battle progress from one move to the next as we see each counter-move develop into more counter-moves. These jaeger-kaiju fight scenes have an almost balletic grace to them despite the massive amount of destruction heaped not just on each other but their surrounding environment as well. They also have a sense of weight to both jaeger and kaiju. With each step, punch, crash and bodyslam there’s a sense of real actual weight being protrayed on the screen unlike films like the Transformers trilogy and, more recently, Man of Steel during some of it’s major action sequences.

Once again this boils down to the simplicity of the scenes and how this choice makes the fights more exciting and thrilling than anything we’ve seen this summer. Up-and-coming filmmakers looking to find out how to set, block and choreograph action scenes could find no better filmmaker than Guillermo Del Toro to learn from.

So, does this mean that Pacific Rim is a perfect film which has no flaws and can do no wrong. It’s a question that probably splits critics and those who talk endlessly about film, but the simple answer is that Pacific Rim is not a perfect film. It does have it’s faults that’s born out of it’s simple narrative and simple-drawn characters. Yet, these flaws also comes across as strengths depending on who ones asks. But as a piece of action-adventure filmmaking that promised the simple idea of giant robots fighting giant monsters the film was perfect.

Pacific Rim reminds us that Guillermo Del Toro is one of the few filmmakers who definitely earns the label of genius. It’s not hyperbole. It’s just fact. It takes a genius filmmaker to do the sort of varied films as he has done throughout his career both as director and producer and still have each and everyone of them feel original (whether they are or not), thought-provoking and just plain old fun. Pacific Rim may be Del Toro’s love letter to his childhood loves of mecha anime and daikaiju films from Toho and other such studios, but it’s really a rallying cry to audiences both young and old that blockbuster filmmaking doesn’t have to be gritty, journeys through psychological darkness to be successful. He’s brought the fun back in epic, grandiose filmmaking that hopefully becomes a trend and not a one-shot.

P.S.: Also, make sure to stay to watch the end title sequence that was created by Imaginary Forces to make a sequence similar to the awesome end titles for The Avengers last year. Plus, there’s a small scene mid-credits at the end that ends the film on the proper note.

Trailer: Pacific Rim (Official Main)


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Ok, this is the final and most awesome trailer of Guillermo Del Toro’s upcoming giant mechs vs. kaiju (giant monster) blockbuster spectacle, Pacific Rim.

While it might look like so many trailers and teasers about this film will spoil the film for those still to see it I must say that it doesn’t. This latest and last trailer from Warner Bros. still uses scenes from previous teasers and trailers, but just extends each sequences a second or two longer. We get some new images of the jaegers and kaiju fighting, but just extended versions of what we’ve already seen. In the end, this latest trailer still doesn’t give a chronology of how these scenes fit in the film.

I know people probably have their pitchforks and hater-hats on to tear Pacific Rim apart for being too CG, all-action and no brains despite not having seen it. Or worst yet…Looks like Transformers.

I say to these people they should just stay home and go watch their indie, arthouse film that only ten other people have seen and let those of us who enjoy spectacle of this magnitude to enjoy (or not) what Del Toro seem to have cooked up in his mad scientist brain of his.

I don’t go into this film thinking it’ll be a new standard in high art in cinema. I just want to see a giant rocket punch smash into some interdimensional giant monster face.

Pacific Rim will punch fans and detractors a like in the face this July 12, 2013.

Behold, Through the Shattered Lens’ own Jaeger contribution to the fight: Ferrus Mannus.

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Trailer: Pacific Rim (Wonder-Con Exclusive)


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July 12, 2013 will be the date that will go down in otaku history when anime and live-action finally come together to prove that dreams of a live-action versions of some of the most beloved anime titles can work outside the animator’s studio. Guillermo Del Toro may not admit it but this Wonder-Con exclusive trailer for his upcoming Pacific Rim is chock full of anime influences.

Giant mecha aka Giant robots piloted by humans: CHECK

Giant monsters alien or interdimensional in origin: CHECK

Humanity brought to the brink of extinction and living in fortified cities: CHECK

It sounds like the basic outlines for anime of the past 30 or so years. There’s a bit of Neon Genesis Evangelion. There’s definitely a healthy dosage of the Mazinger Z DNA in this film. We can’t forget the classic Voltron that introduced many young people in the West in the 80’s to the joy of ultra-violent anime. Outside of anime there’s the Ultraman versus  kaiju live-action Saturday serials that continues to be popular in Japan to this day and was a staple of any growing boy’s entertainment agenda on Saturday mornings.

Whether this film lives up to the hype it’s been gaining since the first teaser was shown late last year is still an unanswered question, but for fans of action anime this film looks like a love-letter to us and everyone else should just hang on for the ride whether they want to or not.

Plus, for those not steeped in otaku culture it has something for you as well: Jax Teller, Luther, Clay Morrow and Charlie “Kitten Mittens” Kelly.

On July 12, 2013 will be the date to cancel the apocalypse.

Source: Joblo Movie Network

5 New Pacific Rim Promo Posters


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It’s still just a little over 3 months before we get the premiere of Guillermo Del Toro’s return to the big-screen. It’s hard to believe that it’s almost 5 years since he last made a film (Hellboy 2: The Golden Army). His time wandering the world of Middle-Earth for three years and the last two developing his upcoming film and we now just have 3 months to wait for what could either be one of the biggest films of 2013 or a colossal failure.

Pacific Rim looks to introduce the well-worn and popular concept of the giant robot vs. kaiju from Japan to the rest of the world. Fans of this very Japanese pop-culture phenomena have been excited over this film since it was first brought up by Del Toro a couple years ago and more since then. Some have nitpicked that the trailers and teasers have made the film look like an offspring of the Michael Bay Transformers series, but then again all we’ve seen so far have been the robots. There’s still the surprise of how the kaiju will end up looking.

One thing I’ve learned about Guillermo Del Toro’s films have been that whether one likes them or not they’re never lazy affairs. He gives everything to the project and makes sure that his overall vision never get compromised by studio interference (one reason why he seems to back out of doing his dream project At the Mountain of Madness).

So, below are some of the latest promotional posters that show the five giant robots from five Pacific Rim nations who have volunteered to help fight the kaiju.

Striker Eureka from Australia

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Cherno Alpha from Russia

ChernoAlphaRussia

Crimson Typhoon from China

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Coyote Tango from Japan

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Gipsy Danger from the USA

GipsyDangerUSA

Trailer: Pacific Rim (Official CES)…and Jaeger Designs


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I think Guillermo Del Toro’s upcoming giant robots vs giant monsters summer film will either fail to live up to the hype it’s been gathering since the very first teasers and images were released or the film will blow people’s minds away. This looks to be a film that will not brook any middle-of-the-road reaction. Some will either love it and some will absolutely hate it. Already there’s people who have been dismissing it as nothing but a jumped-up-Michael Bay rip (like that’s even possible) or dismissing it just because it’s a summer blockbuster, special-effects heavy film and not a barely-funded, arthouse, indie foreign film about the meaning of life, existence and the ennui that befalls all.

I, for one, am hyping this film up to beyond what’s safe to hype a film up for (yeah that doesn’t make sense but still deal with it). I’ve been a fan of Del Toro since I first caught his imaginative and inventive take on the vampire myth with Cronos. While he’s earned geek cred for his genre projects he is also once of the few filmmakers who have also gained the respect of the arthouse indie crowd with such films as The Devil’s Backbone and Pan’s Labyrinth.

Enough gushing over the man. It’s all about the new trailer which premiered at this year’s CES over in Las Vegas. One wouldn’t think of CES as a place to premiere new footage about a summe rblockbuster, but as one can spy in this newest trailer it looks like Qualcomm paid some cash to get itself named in the film even if it’s just in the background. Also, just to show just how awesome this film will be there are also the design blueprints of five of the giant Jaegers that we’ve caught glimpses of in the trailer.

          U.S. Jaeger Gipsy Danger          Australian Jaeger Striker Eureka                 Russian Jaeger Cherno Alpha          Chinese Jaeger Crimson Typhoon

Japanese Jaeger Coyote Tango

Trailer: Pacific Rim (dir. Guillermo Del Toro)


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I think I may have just found my No. 1 most-anticipated film of 2013. It’s a no-brainer really considering my taste in pure, surefire entertainment. Let’s go through the check-list shall we….

  • Summer blockbuster: CHECK
  • Guillermo Del Toro directing: CHECK
  • Live-Action Mecha goodness: CHECK
  • Kaiju roaring and fighting: CHECK
  • Giant Mecha fighting and rocket punching: CHECK
  • GLaDOS doing voice-over work: CHECK and CHECK.

Guillermo Del Toro has been the champion of genre fans and even though the multitude of projects he gets his name attached to never even make it past the concept stage when they do he always goes full-bore, balls-to-the-wall and damn the torpedo forward with his vision. It looks like Pacific Rim he gets to give his fans and those who just want some crack-a-lacka, eyes-going-to-bleed action a chance to watch his vision of giant robots fighting giant monster for the fate of the planet. This film brings me back to my days as a youngling staring wide-eyed in front of the TV watching such classic anime as Mazinger Z and Voltron.

It helps to have GLaDOS providing the voice of the giant “Jaeger” mechas and current badass Jax Teller aka Charlie Hunnam be one of the two main Jaeger pilots. We even get to see Idris Elba acting in hia natural voice. This looks to be a film that just wants to give and give and give. It’s a giver.

Pacific Rim punches everyone in the groin and we’ll love it for doing so on July 12, 2013.