wtf? Where do you people hang out that this is the "chatter" you hear? This movie has no buzz except among del Toro fanpeoples, the fate of nothing rests on it.

This constant toggling between groupthink and severe contrarianism in these reviews is killing me. I don't care about what Comic Con crowds will think about this or what your fellow bloggers have been saying about it. Review the motherfucking work, and try to leave the opinions of others out of it.

Oh, and can we PLEASE get a wide shot sometime? Why is everything in these SFX movies a close up or medium shot? Why is everything so claustrophobic? Why was everyone Australian/British? Why would you not just keep aiming guns/nukes at the portal and just zap them as soon as they come through instead of being surprised every time they show up? Why would they stop building robots but instead build a giant wall (how would that be easier? why not do both?)

Why was Godzilla Against Mechagodzilla (2002) a much better and effective film for 1/20th the budget?

How many bombs can Legendary Pictures take?

FYI, I've seen the film twice in IMAX 3D, on the real screen at AMC Lincoln Square. As I saw MOS and other big blockbusters that I thought worth my time. After seeing the promos/trailers for the film, I got the tone. I didn't expect it to be a brooding intellectual affair; not necessarily a thinking man's sci-fi flick. I expected it to be visuall bombastic and fun. Sure there were some logic holes – and surely the acting and dialogue left much to be desired (everyone played their role as an easy-to-read archetype) – but the thrill was in the joy behind the filmmaking. In the massive scope and interplay between flesh and metal. Working to essentially legitimize and personify these robot Jaegers.

For those who won't see it based on this review, versus your impressions – or ridiculous comparison to MOS, in terms of collateral damage – that's too bad. The author was way off on his points, IMHO: the set pieces had pace and spatial awareness (I was never lost on what was going on) – and the 3D in our theater was just fine (okay it did seem to rain a lot); there weren't any obsessive long monologues (pure bullshit there, only Elba's PENTECOST has that repeated trailer moment).

The destruction was massive but considered ahead of time. Moments were shot in the film to show how the cities were evacuated/had underground bunkers. Unlike MOS, I felt more for Charlie Day's NEWT and the scared Chinese around him then any random citizens in MOS or STID. The constant worry between the Jaeger players was keep the monsters away from the coasts. Not once did a 9/11 reference enter my head since the whole premise WAS OUTRAGEOUS in the first place. And there weren't glorious beats watching skyscrapers fall; but certainly Jaegers were thrown and bashed up into them – and I felt the pilots shake and struggle to overcome that destruction.

Hello, what's effing original about ANYTHING coming out of the studios? Clearly, Del Toro, Beacham, ILM et al. were inspired by both the monster and robot/mech stories that came out of Japanese post-war and anime-pop cultures. The film is clearly a hybrid of those traditions but done with the biggest production toys to date. That's not a negative as written above; it's certainly risky. But hey GODZILLA is being remade – and a fifth JURASSIC PARK is in development – so that's okay right? Wonder what these same critics would've said if that live-action AKIRA was every put on screen… That is was derivative or that it was so "original." Bullshit bitching to me.

As tired as this critic and some of his peers have in "these types" of movies, it gets really tired and lazy, to me as a regular reader and filmmaker, that they keep throwing in COMIC-CON and FANBOY in every conversation/post like they're ruinous parasitic and spoiled entities. An effin' generation ago, no one in mainstream media wanted to touch what the kotaku folks of the world were living and breathing. Well, many of them have grown up to write properties and/or direct them in multi-million dollar films that these media conglomerates seek to make their profit margins. Somehow these creative folks have to navigate between the nerds and the hoi polloi to make something worthwhile in dozens of markets.

I for one thought PR to be the most fun sci-fi/superhero flick this year – consistently massive, tactile, and bold enough.

I've never wanted to get up and leave a movie while I was watching it before. I nearly did during this movie. Twice.

I'll be honest, this is the worst movie I've ever paid to see. I couldn't have been more disappointed in it.