Whether you’re following vast, deep footprints through destruction and carnage, searching for a safe zone, or staring down a snarling, drooling, gargantuan beast face-to-face. Nothing beats the sheer adrenaline, fear, and conscientious clarity that comes with outrunning, out-thinking, and hopefully beating the best movie monsters. Sure, there will undoubtedly be casualties and the emergence of this immense life-form could possibly spell the end of civilization as we know it. But, in all honesty, how awesome would it be to take down one of these mothers? But I digress…
For the record, I am not including monsters based off of existing creatures. This means that “Jurassic Park,” “Jaws,” and “King Kong” will all be excluded from the list. However, this mention is somewhat of a shout-out to each films ability to create truly terrifying, malicious beasts out of prehistoric or current beings.
So, without further ado, let’s get into it!
10: “Super 8” alien life form (J.J Abrams, 2011). I know that a lot of you will disagree with this choice. I know the film might have been a bit to nostalgic or cliche for some, but I absolutely adore this J.J Abrams flick for precisely those reasons…oh, and the monster!
9: “Ghostbusters” Stay-Puft Marshmallow Man (Ivan Reitman, 1984). I know it’s a little wimpy, kind-of funny, but it is still a lot of fun and unnerving…down-right disturbing actually.
8: “Monsters” alien life form (Gareth Edwards, 2010). I know most of you won’t agree with this choice, most of you probably haven’t even seen the film. But it is low-budget, science-fiction brilliance and the aliens are just astounding and atmospheric.
7: “Pacific Rim” Kaiju (Guillermo Del Toro, 2013). I know it is a bit recent and that some didn’t enjoy the film. However, there is no denying the coolness of the Kaiju.
6: “The Fly” Brundlefly (David Cronenberg, 1986). Okay, it may not be as monstrous or destructive as the other creatures on this list. Nonetheless, Brundlefly is quite possibly the most petrifying.
5: “The Thing” (John Carpenter, 1982). I don’t really know what to say about this one. The Thing is a sick, twisted, malicious being that doesn’t stop until everyone and everything is dead.
4: “Cloverfield” alien life form (Matt Reeves, 2008). The scene where one of the main protagonists is consumed by this foul being still haunts my dreams to this very day.
3: “The Host” mutated amphibious life form (Joon-ho Bong, 2006). An outstanding monster flick that tackles more than its fair share of questionable subject matter. “The Host” has a misunderstood, agile monster at its centre, but make no mistake, it is badass.
2: “Godzilla” I am not going to put a specific film or director on this one, seeing as the franchise continues to rejuvenate. This is the ultimate, timeless, gigantic monster. The only surprise here is that you all expected it to be at number 1.
1: “Alien” franchise, Xenomorph. Hands down my all time favourite movie monster. The Xenomorph embodies everything a movie monster should be and so much more.
Okay all, that’ll do it for this week’s edition of the top 10. I hope you all enjoyed it as much as I enjoyed compiling it. As always, if you feel I’ve overlooked a monster or listed one that shouldn’t have been ranked, please comment below. Have a great weekend!
Although it may ask the viewer to acquiesce a fair amount of inconsistencies and genre cliches. “Pacific Rim” ultimately rewards its audience with jaw-dropping visuals, bone-shattering action, and evoking genuine childlike wonder. It is somewhat of a let down that we are treated to only a small taste of what makes Guillermo Del Toro the revered visionary he is today. Nonetheless, without the aforementioned creator working behind the scenes. “Pacific Rim” would have undoubtedly fallen victim to the bombastic, over-driven destruction that has plagued and doomed countless others in the genre. While I didn’t expect the catchy slogan “Go big or go extinct” to be the film’s structural criteria. Luckily for Del Toro and crew, you can’t get much bigger than 250 foot robot assassins piloted by humans duking it out with genetically-engineered alien war-machines in an intergalactic battle. Powered by Del Toro’s youthful inspiration and wide-eyed ambition, “Pacific Rim” is literally a summer smash.
In the near future, extraterrestrials dubbed “Kaiju” enter through a portal in a crevasse deep beneath the Pacific Ocean and begin destroying Earth’s major cities. To combat these monsters, humans create massive weapons known as “Jaegers” which are humanoid fighting machines that stand roughly 250 feet tall. These “Jaegers” are controlled by two pilots simultaneously through a neural link that allows each co-pilot access to inner thoughts, memories, and reactions. Soon, the human race begin to take the upper-hand, but are quickly knocked back down by bigger, more complex “Kaiju” and must find a way to close the portal between worlds.
Similar to J.J Abrams “Super 8,” Guillermo Del Toro’s “Pacific Rim” was conceived upon childhood nostalgia and a yearning to rebirth the creature feature. Having rekindled a long-dormant fascination with classical foreign monster films. Del Toro and crew set out to instill that feeling of childish giddiness into a generation who’ve been rotted with endless pedestrian and vapid blockbusters. And as far as big-budget action-thrillers go, you’ll find none better than “Pacific Rim.” Establishing new heroes with timeless qualities that get the job done or die trying, a slew of immense, godly fighting robots equipped with inventive, resourceful weapons, and a plethora of monstrous, grotesque extraterrestrials. It might be a tad predictable, even stereotypical. Yet, “Pacific Rim” is a breath of fresh, rejuvenating air into a faltering genre that was failing to inspire and bewilder.
It’s easy to see that in any other filmmakers hands, at least a majority of them, “Pacific Rim” would have faced a rather swift extinction so to speak. That being said, it would have been nice to see Del Toro infuse a bit more of what makes his previous releases so compelling. While there are tiny bits of his repertoire sprinkled throughout “Pacific Rim’s” rather modest (roughly) two-hour runtime (only when stacked up against the films scale). One can’t help but feel that it lacked his ambience and atmosphere, the unwavering human element. Undoubtedly, we are subjected to the brilliant diversity and growth of Del Toro as a filmmaker and it is astounding to say the least. I just can’t help but conclude that “Pacific Rim” would have been infinitely better if Del Toro took an extra half-hour, added his usual artistic detail and firmly grounded this flick. However, it’s still one hell of a ride.
Now, inevitably, more than a few will draw comparisons between “Pacific Rim” and the “Transformers” franchise, amongst other big-budget action blunders. But don’t mistake my clamouring for typical Del Toro as a sign of skeletal, visual, and sympathetic weakness. It’s actually quite the opposite. What sets “Pacific Rim” apart from these brain-dead blockbusters is its strength in the aforementioned categories. I’m simply stating that Del Toro could have done it better, it’s still phenomenal in every sense of the word. The visuals are stunning, Oscar worthy and the story’s progressive form, formidable characters, and connectivity is sturdy enough to stand on its own. “Pacific Rim” is essentially pleasing to all cinematic senses. If you find yourself unable to enjoy it, odds are your inner-child suffocated under your pretentiousness a while ago.
As for the film itself, you’ll find no shortage of witty humour, deceptively charismatic and humanized characters, and of course gargantuan battle weapons built by two rival races deconstructing one another using any means necessary. Still, what makes “Pacific Rim” so utterly admirable and atypical is its ability to separate from what is slowly becoming a modern convention. Amongst the abundance of comic book films that depict superheroes struggling with their own mortality and moral obligation. “Pacific Rim” reinstates the solidified, courageous, head-held-high heroes who live and feed off of the battle, albeit somewhat cockily. Not to mention, Del Toro and crew make excellent use of the underdog premise and play it out flawlessly. However, most importantly, “Pacific Rim” portrays belief in humanity, something cinema has gotten away from.
Now, not just anyone can control these immense Jaegers or understand the Kaiju and that’s why “Pacific Rim” has such a diverse, talented, and somewhat obscure cast. Starring Idris Elba, Charlie Day, Ron Perlman, Charlie Hunnam, and Rinko Kikuchi, this crew of tenacious, at times ruthless individuals is not to be trifled with.
Out of everyone cast in this film, Charlie Day struck me as an odd, risky choice. Having only seen the actor in various comedies, a high-profile role in a serious action-flick seemed like the last place he’d be effective. Well, I was wrong. He does a fantastic job providing some much-needed comic relief and even surprised me with his capabilities a few times. Idris Elba is as intimidating as ever and continues to be one of the most underrated actors currently in cinema. Adding his usual style, suave, and dramatic flare to a rather limiting role. Ron Perlman, although sparsely used, still manages to steal every scene he’s in and he’s as hypnotic as ever. Carlie Hunnam definitely stole the show, for me anyway, and that’s due in large part to his chemistry with Rinko Kikuchi. The two really know how to give and take, while remaining independent enough to stand-out on their own.
One of the most decedent pieces of eye-candy I’ve ever witnessed, “Pacific Rim” is exactly what you thought it’d be…loads of fun.
Pacific Rim: 8 out of 10.
It may not be as innovative or complex as its predecessor. Yet, Star Trek Into Darkness bursts forth with a renewed source of ambition and on the shoulders of the Enterprise’s crew, successfully tackles nostalgia with a fresh, brooding twist. Capturing the wonder of space, jaw-dropping action sequences, and spectacular performances from the entire cast. Abrams and company follow up 2009’s franchise resurrection with another inconceivably epic entry into the Star Trek universe. Playing out the mystery and anticipation to full effect, Star Trek Into Darkness is bigger, louder, and surprisingly more heartfelt. Blending the perfect amount of sentiment, hilarity, and bone-snapping (reference) hand-to-hand combat, Star Trek Into Darkness doesn’t miss a beat. If the time since 2009’s smash hit has left a bit of a void in your life. Star Trek Into Darkness is sure to satisfy your Trekkie addiction, die-hard enthusiast or not.
Upon returning from a mission, the crew of the Enterprise isn’t allowed much time to rest as rogue Starfleet agent turned terrorist, John Harrison (Cumberbatch) bombs a Starfleet base in London. When Harrison flees Earth and retreats to a distant planet, Kirk (Pine) and the Enterprise are commissioned to hunt him down using any means necessary. Eventually finding Harrison on a abandoned planet, the Enterprise and its crew is attacked. Barely escaping with their lives, the crew is soon face to face with Harrison and a slew of difficult decisions that Kirk and company struggle to make.
While the primary goal of 2009’s Star Trek was to reintroduce this timeless sci-fi tale to the modern viewer, by and large. Nonetheless, the reboot was more of a rebirthing for the exceedingly long-running saga (not that I am complaining). Now, with Into Darkness, Abrams is definitely paying more of an homage to the original series that seems to set its sights on appeasing the fans of old, like myself. Coincidentally, Star Trek Into Darkness deals with more mature content as its predecessor felt more directed into pleasing a wider variety of viewers. To the dismay of Trekkies all over the world, Abrams decided to keep the villain’s identity heavily under wraps. If you happened to watch any publicity for the film, such as late night talk shows, you’d know that this secret was as vigilantly guarded as some nuclear missile silos. That being said, I fully agree with the decision as it significantly affects the storyline.
Regardless of the fact that Into Darkness isn’t as encompassing to the rules and regulations of physics and space, particularly bending them as 2009’s entry so brilliantly did. Into Darkness fixates more on the universe created by the original series and exploiting our fascination with it, as lovingly as one can. Now, dealing with these facets is sure to alienate those unfamiliar with their origin. However, it should initiate a sense of eagerness to explore Star Trek’s storied history for those who don’t have the knowledge and gives a chance for those who do an excuse to revisit.
Perhaps the most outstanding aspect of Into Darkness is the story’s growth even though there has been a four year absence. When the film begins, the audience becomes aware. We are somewhere down the road now, we’ve missed something and there is this yearning to catch up. To see the empire that is Star Trek move forward and evolve is refreshingly reassuring. J. J. Abrams singles out each member of the Enterprise’s crew, giving more scree time to each individual and digging deeper into the emotions and heart that drives them, even Cumberbatch’s character.
In addition to the original crew that consists of Chris Pine, Zachary Quinto, John Cho, Anton Yelchin, Bruce Greenwood, Zoe Saldana, Karl Urban, and Simon Pegg. Into Darkness adds Alice Eve, Benedict Cumberbatch, and Peter Weller to StarFleet…Even though each actor brings their own charisma, motivations, and vulnerability to their individual roles, there is no denying that there is only three leads amongst them, Pine, Cumberbatch, and Quinto. That being said, like any good starship, Into Darkness would be rendered useless without its crew, and this crew substantially upped their game.
Cho, Saldana, and Pegg are all fortunate recipients of increased screen time and added emotional character depth. Cho grows into a firm and steady stance, earning respect and parting ways with his comical errors from 2009’s Star Trek. Pegg and Saldana’s roles, or lack there of in Star Trek has been dealt with. Taking full advantage of the emotional intensity in their roles to showcase their diverse talents. While Greenwood’s role is somewhat diminished, he arguably gives a stronger performance. Yelchin and Urban’s importance remain unchanged except for the addition of a plethora of one liners you can’t help but laugh at. As for the new recruits, Eve and Weller make for interesting and formidable additions. Eve’s role, ripe with potent sexiness and cute arguments with Spock, is so much more. Playing the sweet, intelligent love interest of Kirk, Eve takes no nonsense. Finally, Weller’s objective remained a mirage throughout Into Darkness’s publicity, but storms in with chaotic indifference. As brash and toxic as ever, Weller is quite the surprise.
As masterful, endearing, and exhilarating the supporting casts performances may be. Benedict Cumberbatch, Chris Pine, and Zachary Quinto are light-years ahead. Let’s star with Pine, who’s face now permanently comes to mind when anyone mentions the name Kirk. Undoubtedly, Into Darkness contains Pine’s most involved, mature, heavy-hearted, and overall best performance to date. I can think of no one better to have taken over the chair. Quinto is quite the anomaly. He so elegantly, actually perfectly captures the essence that is Spock. His heartless, emotionless, and vastly superior intellect are mere surface qualities and Quinto knows this well, diving so deep into his soul that it leaves his exterior vacant. Now, where to begin with the immaculate Benedict Cumberbatch. I don’t think it is possibly for this man to do any wrong. With every role, he completely immerses himself and disappears into his characters skin, Into Darkness is no exception. Exuding every emotion necessary with pin-point precision, Cumberbatch gives one of the best villain performances in cinematic history.
Flawlessly acted, impeccably directed, and visually spectacular. The sheer immensity and heart of Star Trek Into Darkness is enough to give you shivers.
Star Trek Into Darkness: 9 out of 10.
Being able to draw fresh blood to the franchise while still appeasing those who practically have Starfleet emblems burned into their skin like birthmarks would appear daunting to say the least. Well, it just so happens that J.J Abrams put quite the strangle hold on the long running saga, revived it, breathed new life into it. A re-imagining that astonished and reached vast across the universe as an intelligent, undeniable virus that infected Trekkies new and old alike. While the effects and intricate plot provide the majority of its wonder. The real achievement is the development and portrayal of its familiar characters that is truly awe inspiring. Star Trek’s three leads Chris Pine, Zachary Quinto, and Eric Bana, as well as the supporting cast are a revelation. With an all star cast and a story so elaborate, Abrams and company boldly go where no man has gone before.
The first shots profile the early years of James Kirk (Pine) from birth to his enrolment in Starfleet. Kirk’s father George (Hemsworth) was killed in a final stand against a rogue time traveling ship looking for Spock Prime (Nimoy). Around this time, a young Vulcan named Spock (Quinto) is torn between his heritage that is split with humanity. Roughly twenty-five years later, Kirk is challenged by Christopher Pike (Greenwood) to best his father by joining Starfleet to become captain of his own ship. When the Enterprise is called into action some time later, its crew is thrust into a battle to save Earth from Nero (Bana). With the help of Scotty (Pegg), Uhura (Saldana), Sulu (Cho), Chekov (Yelchin), and Bones (Urban). Kirk and Spock must set aside their differences to rescue Captain Pike and prevent Earth from being destroyed.