MOVIE REVIEW: The Shape of Water (2017)

An allegorical tale of the co-existence between human and monster, The Shape of Water confirms that director Guillermo Del Toro’s hands on magic realism is masterful, and his breakthrough with 2006’s Pan’s Labyrinth was not a fluke.

Set in the outbreak of the Cold War, The Shape of Water follows the life of Elisa Esposito (Sally Hawkins), a rendered mute, who works as a janitor for a classified, underground government laboratory. She soon caught herself in the middle of unraveling the secrecy of her workplace: the imprisonment of a sea monster with omniscient abilities. Government officials use it to conduct tests and experiments in preparation to beat the Soviet Union in the Space Race.

As a mute, Elisa’s livelihood is limited to blue collar jobs, yet she treats it with such dedication and finesse, as if she works as a corporate professional. This suggests that, despite being categorized in a lower social status, she is never sub par in her own terms as that has always been her reality. Her condition is never reliant to the definition of others. The first few scenes show how she revolves in her own world — the way she delicately presses her clothes, prepares her bath and brushes her shoes before going to work, taking so much pride in what she does — she never sees herself as someone any lesser.

Despite being, a love story between a woman and a monster, Del Toro’s approach to the film is never about bestiality. He used the concept of the monster’s existence as if they are the patron saints of imperfection. This is parallel towards the imperfect life of Elisa, mirroring to that of the sea creature — both are living beings suffering the alienation because of their differences and abnormalities. Del Toro’s direction never leans towards the path of eerie and horror — it was simply a story between two broken souls who possess compassion, sympathy, and the ability to look beyond the each others’ disabilities.

The production design played a vital role in expressing the undertones of the characters’ emotions. During the scenes where Elisa is at home, the film felt claustrophobic — suggesting the character’s imprisonment in the tight spaces of her home because of her condition. The lighting is dark, yet it exposed little yellow lights here and there, almost sepia — suggesting that she never sees hopelessness in her world. As she goes to work, the cinematography changes from tight closeups to wide, panorami shots — this shows how big the world around her is, and she didn’t seem to be bothered by it. This serves as a contrast between her reality and the world; it suggests how little she is for anyone to even bother notice her.

The screenplay used Chekhov’s Gun technique in the film, particularly on how Elisa shows her care and affection to others. The hard-boiled egg was utilized thoroughly to express this intent. The first scene shows how much she takes time and effort to cook these eggs, basically almost every morning; she then gives them to Giles (Richard Jenkins), her long-time friend. He rejects it; stating that she “need not to bother”. The sea monster is the only one who accepts it; ultimately, “egg” becomes the first English word it learns. The egg symbolizes a woman’s capacity to nourish, and perhaps this is something that Elisa has been long waiting to offer to someone who will accept what she can give. She found this in the monster. Keep in mind that her capabilities to give are limited, thus every little thing meant a whole lot to her.

Sally Hawkins’ performance is the heart of the film. Given that her character didn’t have any speaking lines, a lot had to be said with every muscle in her face. Every stare, her eyes pierce with a hundred layers of emotions. Her mouth moves as if she is dying to speak her entire life. Her body language vibrates what she feels inside; every tick of a finger and every stomp of her foot made me feel something from her. She didn’t need a word to convey these emotions. I felt her contentment; I felt her simple joys, I felt her sexual frustrations; I felt her anguish; I felt her love for the monster. Hawkins’ gave the best female performance of the year.

The film used music and dance in fantasy sequences to display the subconscious of Elisa. In scenes where her emotions are too overwhelming not even sign language can express it, Del Toro shifts to a monochromatic musical number where she dances and sings as if she were in a musical. The film used the dream-like landscapes and elements of fantasy as a remedy for an inconvenient reality. This supports Elisa’s love for tap-dancing, and watching TV shows where flapper girls are dancing in jitterbug shows; her love for music and dance is an escapade from her own mundane life.

Overall, The Shape of Water embodies exactly what its title suggests — it’ll fill ever corner of your being, and how indefinite its form is gives you a thousand possibilities of what to feel while watching the movie. A monumental achievement for Guillermo Del Toro for, one again, giving a whiplash of his magic realist genius. Clearly, one of the best films of 2017.

5 out of 5 stars

WATCH: Marvel’s ‘Ant-Man and the Wasp’ trailer brings on the action

Real heroes. Not actual size. Marvel Studios has just revealed the brand-new trailer for Ant-Man and the Wasp starring Paul Rudd as Scott Lang/Ant-Man and Evangeline Lilly as Hope van Dyne/Wasp.

Check out the trailer below and watch Ant-Man and the Wasp in Philippine cinemas July 4.

From the Marvel Cinematic Universe comes Ant-Man and the Wasp, a new chapter featuring heroes with the astonishing ability to shrink. In the aftermath of Captain America: Civil War, Scott Lang grapples with the consequences of his choice as both a Super Hero and a father. As he struggles to rebalance his home life with his responsibilities as Ant-Man, he’s confronted by Hope van Dyne and Dr. Hank Pym with an urgent new mission. Scott must once again put on the suit and learn to fight alongside the Wasp as the team works together to uncover secrets from the past.

Ant-Man and the Wasp is directed by Peyton Reed and stars Paul Rudd, Evangeline Lilly, Michael Pena, Walton Goggins, Bobby Cannavale, Judy Greer, Tip “T.I.” Harris, David Dastmalchian, Hannah John Kamen, Abby Ryder-Forston, Randall Park, with Michelle Pfeiffer, with Laurence Fishburne, and Michael Douglas.

Kevin Feige is producing with Louis D’Esposito, Victoria Alonso, Stephen Broussard, Charles Newirth, and Stan Lee serving as executive producers. Chris McKenna & Eric Sommers, Paul Rudd, Andrew Barrer & Gabriel Ferrari wrote the screenplay.

Marvel’s Ant-Man and the Wasp will be distributed in the Philippines by Walt Disney Studios Motion Pictures.

‘Ocean’s’ trilogy director Steven Soderbergh shot new film ‘Unsane’ using iPhone

From Steven Soderbergh, director of highly-successful heist trilogy “Ocean’s Eleven,” “Ocean’s Twelve” and “Ocean’s 13” comes his latest horror thriller “Unsane” starring Claire Foy (Netflix’s The Crown) about a woman who was involuntarily confined to a mental institution after failing to prove to the authorities that she is being followed by a digital stalker. Within the asylum, she gets to confront her greatest fear – is it real or is it a delusion?

Director Soderbergh shot “Unsane” entirely using an iPhone. It was reported that Soderbergh was greatly impressed with the quality of iPhone, “I think this is the future,” he said in recent interviews. “Anybody going to see this movie who has no idea of the backstory to the production will have no idea this was shot on the phone. That’s not part of the conceit.”

“Unsane” will open in Philippine cinemas on March 21, 2018 from 20th Century Fox.

Steven Spielberg’s Oscar Best Picture nominee ‘The Post’ to hit Philippine cinemas

Fresh from receiving a Best Picture nomination in the 90th Academy Awards, Univeral Pictures’ timely thriller The Post is headed to Philippine cinemas on February 24, a week before the actual Oscars.

Marking their historic, first-ever on-screen collaboration, Steven Spielberg directs Meryl Streep and Tom Hanks in The Post, a thrilling drama about the unlikely partnership between The Washington Post’s Katharine Graham (Streep), the first female publisher of a major American newspaper, and editor Ben Bradlee (Hanks), as they race to catch up with The New York Times to expose a massive cover-up of government secrets that spanned three decades and four U.S. Presidents.

The two must overcome their differences as they risk their careers – and their very freedom – to help bring long-buried truths to light.

Throughout American history, there have been catalytic moments in which ordinary citizens must decide whether to put everything on the line–livelihoods, reputations, status, even freedom—to do what they believe to be right and necessary to protect the Constitution and defend American freedom.

With The Post, multiple-Academy-Award®-winning director Steven Spielberg excavates one such moment. The result is a high-wire drama based on the true events that unfolded when The Washington Post and The New York Times formed a pragmatic alliance in the wake of The Times’ incendiary exposure of the Top Secret study that would become known to the world as the Pentagon Papers.

Though scooped by The New York Times, The Washington Post takes up the story that has brought legal threats and the power of the White House down on The Times—as huge personal stakes collide with the needs of a shocked nation to know what its government is hiding.

In the balance might hang the fate of millions, including thousands of U.S. soldiers fighting a war their government does not believe can be won. In just a few days of crisis, pioneering but inexperienced Post publisher Katharine Graham will weigh her legacy against her conscience as she gains the confidence to lead; and editor Ben Bradlee must press his team to go beyond the ordinary, knowing they could be charged with treason for carrying out their jobs.

But as they do, the underdogs at The Post become unified in a battle far larger than themselves—a battle for their colleagues and the Constitution—one that underscores the necessity of a free press to hold a democracy’s leaders accountable, even as it challenges Graham and Bradlee to their most private inner cores.

Throughout his career, Spielberg has been drawn to visiting moments on which historical transformations turn in films ranging from Empire of the Sun and Schindler’s List to Munich, Lincoln and Bridge of Spies.

The Post turns Spielberg’s lens for the very first time on 1970s America, the same era in which he first became one of America’s eminent filmmaking voices. Its relentlessly brisk narrative is a story of personal connections and courage, but it also brings Spielberg into the world of newspaper reporting at a critical moment for the nation and the world, a realm on the cusp of change with the rising power of women and the coming of corporatization.

Most of all, the story provides a riveting context for a timeless dilemma: when must one speak out to expose a grave national danger even knowing the stakes are unfathomably high?

The Post is distributed in the Philippines by United International Pictures through Columbia Pictures.

MOVIE REVIEW: Three Billboards Outside Ebbing, Missouri (2017)

Led by a powerhouse ensemble of somber yet sharp performances, Three Billboards Outside Ebbing, Missouri is a testament that a masterful screenplay, heartfelt performances and a director who respects the simplistic veracity of the narrative’s premise is all that it takes to produce a classic.

The film follows the story of Mildred Hayes (McDormand) who has decided to put up three billboards expressing her frustration that the police officials of Ebbing, Missouri haven’t yet done an arrest for her dead daughter’s killer. This follows an array of circumstances that has put her disposition in jeopardy, unraveling political undertones of racism and abuse of authority.

The film’s screenplay is the biggest asset that it boasts. It’s exceptionally sharp, it’ll make you bleed. Despite its display of a discordant, gloomy atmosphere, it speaks grief subtly by interjecting wit and humor here and there, suggesting that a film about grieving needn’t necessarily to be about screaming and buckets of tears. It showed how simply a human being goes on with a life that still possesses the need of having to move on, despite being haunted by a past that hasn’t been given justice yet. It’s a grief-centric film that doesn’t take its theme literally. It shows many layers of human emotions other than what we already know. The minimalist approach of translating grief on screen is a great reminder of last year’s Manchester By the Sea, where director Kenneth Lonergan displayed the oxymoron of ferocity through his characters’ emotional vacancy.

Frances McDormand sure did deliver a superb performance. However, credit mostly goes to the screenplay. For the majority of the film, the screenplay somehow is on the driver’s seat whilst she was on the passenger’s side. Her lines are fierce and distinctly bold. But was it the best performance of any female actor throughout the year? I don’t think so. Oftentimes, her portrayal of Mildred Hayes felt one dimensional. I didn’t really get the chance to know her other than one fact: she wants justice for her dead daughter. I don’t think her performance was layered enough for me to truly sympathize. But I applaud her for bringing us to a place that is so rare — somewhere between grieving and acceptance. She didn’t go crazy about the fact that her daughter is dead; rather, she showed a post-momentum of what it feels like to face the facts, and search for the truth. McDormand took us to that gray area, wherein most actors just give us black or white. It was a very specific feeling that not all films can show us. But in all, she is fierce because her lines are fierce; as a character, I don’t see it resonating through the years as a performance to remember.

Sam Rockwell and Woody Harrelson are both great foil characters that created a distinction of perspectives towards justice between officials and citizens. McDonagh’s creation of their worlds took us onto a rocky boat where everyone’s colliding due to the current of differences in belief and principles. Ultimately, the film gave a finale that expresses how hope can be achieved when a man of power and a citizen in need decide to settle feuds and differences, and work together. It didn’t give us a rainbow of happiness, as it clearly avoided the cliché route. But, it showed the infinite possibilites of changing the atmosphere through unity — something that is sound and relevant to our humanity’s climate today.

Overall, Three Billboards Outside Ebbing, Missouri is raw, sometimes quirky, and somberly emotional. Its specificity is assertive, and McDonagh’s direction is clean and respectful. Above all, it’s a clear collaboration of an actor and a writer. McDonagh knew how to propel his cast’s performances, and knew what he had to do to make them be as good as they are.

4.75 out of 5 stars

Zendaya rewrites the stars with Zac Efron in musical film ‘The Greatest Showman’

Playing opposite multi-talented actor Zac Efron as Anne Wheeler is another fast-ascending young star, Zendaya in the big screen musical “The Greatest Showman” along with Hugh Jackman, Michelle Williams, Keala Settle and Rebecca Ferguson.

“The Greatest Showman” is a vibrant and engrossing “rags-to-riches” story about a man who achieved the impossible, through determination and the sheer power of his vivid imagination. A pioneer who invented the Big Top, P.T. Barnum (Hugh Jackman) is considered to be the original showman. The Oscar-nominated, Golden Globe and Tony Award winner brings the impresario and entrepreneur to life and we follow him as he launches his circus, ultimately revolutionizing entertainment. Michelle Williams delivers a wonderfully nuanced performance as Barnum’s wife, Charity, while Rebecca Ferguson gives a scene-stealing turn as the iconic 18th-century opera singer Jenny Lind, known as the ‘Swedish Nightingale’. With original songs by Benj Pasek and Justin Paul, the Oscar and Tony-winning songwriters behind La La Land, the movie was directed by the exciting new filmmaker, Michael Gracey.

Though much of The Greatest Showman is drawn from the outlines of P.T. Barnum’s life, two fictional characters bring in fresh points of view: Zac Efron’s Phillip Carlyle, the sophisticated man of the theatre who quits his upper-crust life to join the circus – Barnum’s ringmaster protégé; and Zendaya’s Anne Wheeler, the daring, taboo-breaking, pink-haired aerialist for whom Carlyle falls headlong.

The singer and actress most recently seen as Michelle Jones in “Spider-man: Homecoming”. Zendaya knew right away the role was for her – especially because Anne is a natural leader of the so-called Oddities.” “To me, Anne is very confident, very poised and very comfortable in her own skin, at least when it comes to being in the circus. I think that’s what the circus does for all the Oddities. It allows them a place where they can believe in themselves, where they can experience respect and love and have a safe space to be who they are.”

She too was drawn to the love story, especially because it was honest about the obstacles inter-racial lovers faced for so long in America. “It’s tragic that Anne and Phillip’s can’t love each other in the way they long to literally due to the color of their skin,” Zendaya says. “At the time, it would have been dangerous, so most of what they can do is just exchange looks. For Anne, it’s especially hard because she’s dealt with racism all her life and now she’s slowly falling in love with the exact kind of person she always thought hated her. But love is not something you control. Love just happens to you.”

Zendaya dove into training, spending months working with professional aerialists, gaining upper body and core strength and taming fear. “My body has been through a lot, and I’ve had lots of bruises and soreness to show for it,” she laughs, “but it’s been so worth it, especially seeing Michael’s vision come to life. I never in my entire life thought that I would be flying around in the air but I’m very proud of myself, because I tried my best and came way out of my comfort zone. Now, I’m no longer afraid of heights!” Naturally, Zendaya looked forward to the singing and dancing, one of her life’s own great passions. She especially loved working with Keala Settle in the song “This Is Me.” “I know there are young women and young men out there who need to hear that message – to hear that even if I’m bruised, I can be brave and I’m who I’m meant to be. I found the words really cool,” she says.

“The Greatest Showman” opens January 31 in cinemas nationwide from 20th Century Fox to be distributed by Warner Bros.

No fairy tale ending as ‘Fifty Shades Freed’ begins

Christian Grey (Jamie Dornan) and Anastasia Steele (Dakota Johnson) return in Universal Pictures’ romantic thriller Fifty Shades Freed, the climactic chapter based on the worldwide bestselling Fifty Shades phenomenon. Bringing to a shocking conclusion events set in motion in 2015 and 2017’s blockbuster films that grossed almost $950 million globally, the film arrives for pre-Valentine’s Day in the Philippines, February 7.

Believing they have left behind shadowy figures from their past, newlyweds Christian and Ana fully embrace an inextricable connection and shared life of luxury. But just as she steps into her role as Mrs. Grey and he relaxes into an unfamiliar stability, new threats could jeopardize their happy ending before it even begins.

Given the record-setting sales of E L James’ Fifty Shades novels, and the first two films’ impressive global box-office take, the filmmakers know that they were far from messing up. When the trailer for the second film, Fifty Shades Darker, debuted online in September 2016, in less than 24 hours, it racked up more than 114 million views, shattering the previously set record for highest-performing full-length trailer of Star Wars: The Force Awakens, with 112 million views.

Book author and producer E L James was and is surprised by the depth of emotion the story of Anastasia Steele and Christian Grey stirred up in fans. At one point, she was even satisfied with the story concluding with just one book. E L James explains: “The first two books were written as one, and I’d stopped at the wedding proposal and thought, ‘This is great. I’ve left them in a good place.’ But I got readers urging me to write more. I remember being on holiday and I was listening to Michael Bublé’s version of ‘You Will Never Find Another Love Like Mine,’ over and over again. I thought, ‘Hang on a minute. If I’m going to write more, what would it be?’

“I knew the only thing I could do was to have Ana pregnant and to see Christian’s reaction, which is not great,” E L James continues. “I knew that’s where I wanted the story to go. That’s why I started writing the third book—to see him absolutely terrified, furious, when she announces that she’s pregnant. He goes completely ballistic, because he’s a scared child himself.”

Regarding the title choice of this chapter, E L James explains, “In the third book, Christian finally learns to let go and accept what’s coming to him. I think he’s freed. And seeing the woman he loves with a child is the most healing thing that could ever happen to him.”

But the tone of Freed, overall, is far from merely a romance of the healing kind. Screenwriter Niall Leonard, who returns to this chapter, notes: “Freed opens with a mysterious man visiting the offices of Grey Enterprises. We realize quickly that he’s Jack Hyde and up to no good. Rather than starting with this idyllic existence that Christian and Ana have, we’re starting with the threat of Jack. It becomes clear that everything they do in this movie is constrained by the threat of his revenge. From the get-go, our heroes are never safe, happy or utterly content. Christian is aware of this and doesn’t tell Ana, thinking he’s protecting her. But of course, as a husband and wife, you don’t always protect somebody by keeping secrets. Eventually the truth comes out—it becomes another hurdle for them to face together, and another issue in their constant efforts at building trust between them.”

While it may sound fated that the couple will find that fairy-tale ending, Leonard is quick to disagree: “I would think that Erika herself might resist this idea of destiny, because it suggests that no matter what you do, you’re going to end up at a happy place. In fact, Ana and Christian have to make a big effort—they have to reach beyond themselves, to go way out of their comfort zones—to find each other and create this relationship that saves them. ‘Destiny’ makes it sound too easy—it’s a deliberate journey, it’s a struggle and a time of great conflict. Hopefully, we won’t have the sense that this was all easy, because it isn’t for the characters.

“For us, the marriage is the beginning of a new adventure, a new story, a new series of challenges,” the screenwriter concludes. “It’s not the be-all and end-all. Erika was wise to make that her focal point of the start of the third book, because it’s a whole new journey for our characters.”

Fifty Shades Freed is distributed by United International Pictures through Columbia Pictures.

WATCH: ‘Mamma Mia: Here We Go Again’ trailer goes back to the beginning

Universal Pictures has just released the new trailer for Mamma Mia: Here We Go Again, the follow-up the 2007 global hit, Mamma Mia! The Movie. Check out the trailer below.

Get ready to sing and dance, laugh and love all over again.

Ten years after Mamma Mia! The Movie grossed more than $600 million around the world, you are invited to return to the magical Greek island of Kalokairi in an all-new original musical based on the songs of ABBA. With the film’s original cast expected to return and new additions joining them, Mamma Mia: Here We Go Again will delight audiences in Philippine cinemas this July.

With a soundtrack full of ABBA songs not featured in the first film—along with some reprised favorites—Mamma Mia: Here We Go Again once more brings the producers of the original film, Littlestar’s Judy Craymer and Playtone’s Gary Goetzman, together. Craymer is also the creator and producer of the smash-hit stage musical. Ol Parker, writer of The Best Exotic Marigold Hotel, writes and directs. Benny Andersson and Björn Ulvaeus are aboard again to provide music and lyrics and serve as executive producers.

Mamma Mia: Here We Go Again is distributed in the Philippines by United International Pictures through Columbia Pictures.

MOVIE REVIEW: Lady Bird (2017)

A cliché-free exploration on the emotional expedition called adolescence, Lady Bird is a tender, colorful and intimate coming-of-age film from the directorial debut of Greta Gerwig.

The 1980s had The Breakfast Club and Sixteen Candles; the 1990s had Dead Poets Society; the 2000s had Juno; 2010s had The Perks of Being a Wallflower, Boyhood, and joining that prestige list of classic coming-of-age dramas is Lady Bird. Spearheaded by a rather poignant, iconic performance by Saoirse Ronan, the film follows the story of Christine “Lady Bird” McPherson (Ronan), who’s on her way to finish high school and soon off to college. We all know that phase, don’t we? We all recognize that very specific moment of our lives where we act as if we know everything that’s going to happen and we can’t wait to break free — Gerwig perfectly captures that young adult psyche in her narrative that’s so specific yet speaks universally. It wasn’t just about a teenage girl — everyone will see themselves in the story of the protagonist.

Saoirse Ronan’s performance, whose pink cast on her right arm and messy red hair will forever resonate to our memory, has forever marked a very specific image of a character in cinematic timeline. Her presence vibrates a thousand decibels, that her quirky, off-beat yet lovable persona as the titular character carried the weight of the film effortlessly. Ronan is, without a doubt, one of the best actresses of her generation.

Laurie Metcalf’s performance as Lady Bird’s mother is so universal, she doesn’t only shine a light on Ronan’s character, but also gives credit to all mothers with teenagers in their household. This portrayal reminds me so much of Patricia Arquette’s performance in Boyhood (2014), who epitomized everything about a misunderstood language of maternal love. Metcalf is raw, funny, and has embodied the reality of what and how a mother is.

The film is a love story between a mother and a daughter, whose worlds collide as they both reach that ‘angry teenager and a grumpy fun sucker mom’ phase. The film explored the language of attention as an expression of love. Attention, as we all know it, is what most young adults crave for. Marion McPherson (Laurie Metcalf) plays an overbearing, oftentimes clingy mom who gives so much attention to her daughter, which ends up rather, as what Lady Bird calls it, “infuriating”. However, that’s just how maternal love is — the involvement of a mother to a teenager’s life. Despite this being unwanted, Lady Bird reciprocates that ‘attention’ through that phone call by the end of the film (no spoilers here) which gives affirmation that attention is love, and that’s what she has ever wanted. There were scenes where her mother was ignoring her — Lady Bird begs for her not to; this suggests that being ignored means being unloved… to teenagers, that is. The film shows how love is interpreted both in the perspectives of a mother, and a teenager.

Overall, the film is easy and charming. It doesn’t drag you onto a dramatic meltdown that every teenager goes through. Despite its theme being very juvenile, it has a sense of maturity to it, as if its narrative is being told by an adult looking back at her young self, where she can now laugh at the silliest mistakes she has done. It doesn’t feel like it overly dwells with the drama; rather, it’s a look back on a “who was I and let’s laugh about it” account.

Simply, one of the best coming-of-age films ever made.

5 out of 5 stars

WATCH: It’s survival of the biggest in new ‘Pacific Rim: Uprising’ trailer

The new official trailer for Universal Pictures’ 3D epic adventure Pacific Rim: Uprising, the follow-up to Guillermo del Toro’s 2013 cinematic epic Pacific Rim, has just arrived online.

Check out the trailer below and watch Pacific Rim: Uprising in Philippine cinemas March 2018.

The globe-spanning conflict between otherworldly monsters of mass destruction and the human-piloted super-machines built to vanquish them was only a prelude to the all-out assault on humanity in Pacific Rim Uprising.

John Boyega (Star Wars: The Force Awakens) stars as the rebellious Jake Pentecost, a once-promising Jaeger pilot whose legendary father gave his life to secure humanity’s victory against the monstrous “Kaiju.” Jake has since abandoned his training only to become caught up in a criminal underworld. But when an even more unstoppable threat is unleashed to tear through our cities and bring the world to its knees, he is given one last chance to live up to his father’s legacy by his estranged sister, Mako Mori (Rinko Kikuchi)—who is leading a brave new generation of pilots that have grown up in the shadow of war. As they seek justice for the fallen, their only hope is to unite together in a global uprising against the forces of extinction.

Jake is joined by gifted rival pilot Lambert (The Fate of the Furious’ Scott Eastwood) and 15-year-old Jaeger hacker Amara (newcomer Cailee Spaeny), as the heroes of the PPDC become the only family he has left. Rising up to become the most powerful defense force to ever walk the earth, they will set course for a spectacular all-new adventure on a towering scale.

Pacific Rim Uprising is directed by Steven S. DeKnight (Netflix’s Daredevil, STARZ’s Spartacus) and also stars Jing Tian, Burn Gorman, Adria Arjona and Charlie Day.

Pacific Rim: Uprising is distributed in the Philippines by United International Pictures through Columbia Pictures.