But the storytellers overseeing all those expensive stunts and computer graphics couldn’t give a flying carrot about whether or not the plot makes sense or whether the audience suspends its disbelief. Yes, the VFX and stunt coordination is all spectacular, as we’d expect from a film of this scale. It’s difficult to think of another film in recent memory where the director and writers have displayed such naked cynicism. Why don’t we throw in some magic and fantasy into the mix while we’re at it? Instead, Izabella feels like a character thrown in at the recommendation of focus group research: hey, Star Wars: The Force Awakens had a plucky heroine and a robot friend, so why can’t a Transformers movie? And Game Of Thrones – that’s pretty popular. Izabella and her rather charmless robot sidekick, Sqweeks were, we assumed, an attempt to address the puerile male gaze of Bay’s previous Transformers films. What’s curious about The Last Knight is that it was billed for a while as something of a soft reboot for the long-running series. Most of the film is shot with close-ups or with handheld cameras, which in 3D IMAX creates a nausea-inducing kaleidoscope of eyes, fire, white teeth and flailing robot arms. There are baffling shifts of allegiance on the part of the robots. Generic US soldier William Lennox (Josh Duhamel) is now part of a defence force charged with hunting down robots, but then they make a deal with evil Decepticon, Megatron, to help retrieve that mystical staff everyone else is after. This is what watching the first 10 minutes of Transformers: The Last Knight is like.īeyond that, the film’s events are hardly worth summing up. The lights on the fruit machine are flashing. A dog tied to a barstool barks ceaselessly. A man behind the bar screams at an unbearable volume. But once inside, the whole establishment erupts into a dervish of violence: there’s glass and beer flying everywhere. Imagine it this way: you’ve had a long, tiring day at work, and you decide to go the pub for a relaxing beer – all the better to unwind and forget about the world for a couple of hours.
His fifth film in the transforming alien robot franchise is so loud, obnoxious and confusing that is almost defies description. With Transformers: The Last Knight, however, Bay’s brand of maximalist action blockbuster seems to have curdled into self-parody. It’s all about as subtle as an air-raid siren. Most of us are familiar with Michael Bay’s filmmaking style by now: the frantic editing, the camera that won’t keep still, the golden, perma-sunset lighting.
0 kommentar(er)
