Michael Bay sure likes to rewrite history and deface as many monuments as he possibly can as a director. In the second Transformers film, he totally wrecked the pyramids with a silly action sequence that didn’t make any impact at all.
Here, he presents a theory on why the American space program was in such a hurry to land on the moon back in the 1960s. Even though it’s not intentional, the whole thing seems a little hilarious – funnier than the hoax moon landing theory.
Then again, facts and logic are never the foremost concern in a film about living and talking machines with an ability to look like any mode of transport.
Apparently, neither is developing human characters – Shia LaBeouf’s Sam Witwicky has lost any charm he had in the first film, especially when you put him alongside his cartoonish parents. His new love interest – played by model Rosie Huntington-Whiteley – is the epitome of a one-dimensional character (oh look, she’s pouting while wearing a tight, short dress ... profound). Seriously, she’s nothing more than a blonde version of Megan Fox.
Fortunately, all the so-called subplots are hashed out in the first hour of the 150-minute film. Once the Decepticons are back in the picture with their usual humdrum desire to be “Gods” and the Autobots standing in their way – the audience is in for an eyeful of explosions, action, transformations, action, destruction, action, mayhem and more action. As you are bombarded visually, you are thankful Bay has slowed down the pace a little so that we can actually see the robots do their thing.
There are plenty of new characters too – a snake-like Decepticon weapon is just so freaking cool and a Prime voiced by Leonard Nimoy brings levity to the race. So much so, you find yourself wishing the human characters would just get out of the way – their dialogue is nothing but incessant noise. The clanging sound of metal is like music.
The third film redeems the awful mess the second film made. Bay turned down the forced humour that prevailed in Revenge Of The Fallen, although it’s hard to figure out what Frances McDormand is doing here. While the first film remains the best, this final instalment at least gives it a decent goodbye.