Pacific Rim (fight 4 of 5)

Now, where were we?

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Oh, right.

4) Gipsy vs Otachi

The Fighters:

  • Gipsy Danger, our hero robot fresh off its last kill.
    • Piloted by: Raleigh Beckett and Mako Mori, just as it was ten minutes before. Played by Charlie Hunnam and Rinko Kikuchi.
  • Otachi, the big beast who took out Crimson Typhoon not long ago. We will find out later that Otachi is pregnant which, in addition to inviting some Jay Leno-esque “no wonder it’s so cranky herp derp derp” jokes, doesn’t really mesh with the movie positing that the kaiju are all clones off a bunch of weird genetic assembly lines. The moviemakers have also asserted off-screen that Otachi is female, which again may not make sense but it helps with the confusion I’ve been having with what pronouns to use for these damn things.

The Setup: After parting with Leatherback (rest in pieces), Otachi made a beeline straight for Dr. Geiszler, presumably tracking him by some sort of psychic means. She digs right into the public bunker he’d been hiding out in and gets up close with some sort of weird glowing tendrils.

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Anal probe pain level: MAXIMUM

But before Otachi can grab Geiszler and make him wish he’d never left sunny Philadelphia, the kaiju turns at the sound of Gipsy Danger’s trademark blare. Come to think of it, I never was clear on if Gipsy’s Inception-like BWAAAAAMPS are heard by characters in the movie or if they’re just part of the soundtrack.

As the camera gradually reveals, the dangerous one is dragging a hefty oil tanker lengthwise in its left hand. The music here is a lazier, jazzier version of its main heroic theme, matching the cocky tone of the jaeger’s entrance. It’s fitting, because the heroes are hot off a much-deserved win. While Gipsy was confident in the last fight, here the robot– and the movie– is outright swaggering.

The Fight: As Gipsy closes in, the robot casually swings the ship up so that it’s being held in both hands like a club, and brings the improvised weapon crashing down on Otachi’s stupid lizard face. The villain receives several more blows before she uses her tail to pluck it out of Gipsy’s hands and fling it to a distant street. Where, in a nice touch, it bounces a few times and lands embedded horizontally between two buildings.

At least it will be easy to find later.

At least it will be easy to find later.

The tail also knocks Gipsy down with a strong blow to the chest, and Otachi uses that opportunity to scamper off around a corner. Gipsy gives chase but has a hard time finding the kaiju, which seems hard to believe. It’s like Where’s Waldo, if Waldo was a 3,000-ton space monster.

In another nice touch, as Gipsy clomps around Hong Kong, it passes a small car bridge, and the pilots actually go out of their way to step over it. Even while holding armageddon at bay, still showing at least some consideration to the surrounding environment. It’s not hard, Zack Snyder.

Unfortunately Otachi shortly more than makes up for Gipsy’s apparent respect for property values when she crashes right through a high-rise building and tackles the jaeger.

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“I think I found her!”

There’s some more tussling here, the best part of which is when we see a ducked punch from Gipsy clear right through an empty office area, with the fist coming to a stop juuuuuuust in time to nudge a Newton’s Cradle into motion. It’s Del Toro’s playful streak showing– completely gratuitous but very funny.

Otachi grabs the jaeger and slams it back & forth between a few buildings, finally shoving Gipsy all the way through one of them. The kaiju tries to follow that up with an acid spit finisher, but Gipsy dodges just in time. Before the gross monster can spit again, Gipsy shoves a fist right in her mouth (wouldn’t there still be lots of acid left in there?) and grabs hold of something. Otachi brings her tail over and coils it all the way around Gipsy’s arm, effectively trapping the robot while trying to snap its head off.

"Caught between a mouth and a hard tail," I believe is the expression.

“Caught between a mouth and a hard tail,” I believe is the expression.

Quick-thinking Raleigh counters this by venting the coolant on the machine’s left flank. The super-cold discharge ends up freezing Otachi’s tail so hard the jaeger can snap it right off. Now she’ll never be the tail of a major corporation. With its hand newly free, Gipsy is able to hold Otachi still and rip out the mouth sac that launches her acid spit. Yowch.

The enraged kaiju jumps onto Gipsy and digs the claws on her hind legs deep into Gipsy’s spine. With a solid grip, Otachi springs her surprise: the hidden leather wings on her forearms. As an even heavier version of the old-school monstruous kaiju tune plays up, Otachi pulls Gipsy high up into the sky, smacking the robot along a few buildings for good measure. It’s kind of poorly edited, with literally no transition between the pair just barely passing the rooftops and then suddenly being almost in orbit.

Out of plasma ammo and about to run out of atmosphere, Mako reveals (how is it possible for them to be surprising each other at this point? They’re literally sharing a brain) Gipsy’s own secret weapon:

Letting out a delightfully hammy declaration of revenge in Japanese, Mako makes Gipsy swing hard enough to cut clean through the bat-lizard.

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Again, if you spoke kaiju you’d know Otachi was saying, “that really was a Hattori Hanzo sword.”

This is awesome, and if anything it only suffers from being not quite as awesome as what immediately preceded it. There’s a lot less direct physical fighting between the two combatants this time, but that’s replaced by a healthy amount of other incident: the brief chase in the crowded city, the acid spit, the tail freezing, and that unusual aerial ending. So while it’s less of a “fight,” than the Leatherback duel, that’s fine, because we didn’t need too much more of the same so soon.

And of course there’s that opening where Gipsy Danger strolls in Like A Boss and wields a tanker like a baseball bat. That forgives a lot.

Grade: A

Coming Attractions: A disappointing finale.

Picture1

“im un ur ocean, bitin off ur arms”

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