Transformers: Dark of the Moon (Bay, 2011) Format: 3D
Michael Bay’s “Transformers: Dark of the Moon” represents all that can go wrong with the Hollywood blockbuster — idiotic plotting, paper-thin characters, inadequate tension — but still is one of Bay’s better attempts at destroying the world and frying our synapses. It’s certainly better than the first two “Transformers” films, which featured gratuitously unfunny comedic gags and dispensable subplots that distracted from the robot melee. This entry dials down the unwelcome humor and makes way in the second half for some terrific robot beat-downs. Those who liked the first two “Transformers” movies will love this one. The rest of us at least do not have to be ashamed to say we saw it.
The first half of the movie labors, setting up a half-baked alien mythology that attempts to explain the truth behind the Apollo 11 moon landing and the disaster at Chernobyl. As its predecessors have done, the movie brings in handfuls of supporting characters who eat up screen time (among them Ken Jeong, John Malcovich and Buzz Aldrin himself) but do little to justify their presence. The main character, Sam (Shia Labeouf), remains a dull, unsympathetic lead and his quest to find a job after graduating from college is as uninteresting as his relationship problems with a new girlfriend, played by Rosie Huntington-Whiteley (replacing Megan Fox as the female lead). Labeouf does his best to make Sam at least watchable, while Huntington-Whiteley is no worse than Fox at running from explosions in heels. The film also balances the testosterone of co-stars Josh Duhamel, Tyrese Gibson and Patrick Dempsy with an authoritative turn by Francis McDormand as a U.S. Intelligence director. She is also dangled as a possible romantic interest for John Turturro’s Agent Simmons character (who has no reason to still be in these movies), but her conviction thankfully resists that arrangement. Also, “Fox News” commentator Bill O’Reilly is in this movie, because of course he is.
The film’s second half fares better, as its multitudes take a back seat to the destruction of Chicago. Here the 3D format serves Bay well, enticing him to hold shots longer than usual to enhance the effect. As a result, he creates stirring visuals that he otherwise would not have the patience for. One scene features special ops members base jumping from exploding planes and flying over the city streets amid enemy fire. Another puts Sam and friends inside of a building that is toppling sideways. The effects are so polished and the stunts so impressive that the audience will barely notice there’s not a drop of suspense. The robots themselves look great, and their physical interactions with the actors are more credible than ever. More than once, Bumblebee is forced to transform from an automobile into a fighting Goliath with Sam still inside of him, requiring the robot to snatch the human from midair while deflecting blows from adversaries. The showmanship is generous, even if the sense of danger is not.
The chaos of the second half goes on far too long, especially for a film that does not feature a single interesting character. It’s also hampered by lame monologues from the Autobots and Decepticons as they fight, which rob from the visceral thrills and remind us of just how weak the writing is. But in some respects, this doesn’t matter, since the film dishes out twice the action of any other movie this summer. Bay is, as always, compensating for his weaknesses, but at least they’re no longer slowing him down.
Grade: C
