If Transformers: Dark of the Moon is indeed Michael Bay’s final entry in the Hasbro toy-inspired franchise as he has repeatedly intimated then it is a fitting swan song for a director whose lust - and gift - for spectacle remains unmatched. Exhilarating and exasperating awe-inspiring and stupefying the third installment in the blockbuster alien-robot saga is less a movie than a prolonged manic episode. In other words it’s a Michael Bay film.
Any suspicion that Bay might have matured at all since his last film 2009’s Transformers: Revenge of the Fallen vanishes immediately after Dark of the Moon’s opening credits when model-actress (in that order) Rosie Huntington-Whiteley replacing tempestuous Megan Fox as the franchise’s resident eye candy is introduced ass-first. The camera lingers on her backside mesmerized as she makes her way up the stairs to summon our hero Sam Witwicky (Shia LaBeouf) from the bed she inexplicably shares with him. For a director so notoriously ADD-afflicted as Bay he can show remarkable focus when circumstances require it.
Times are tough for our boy Sam who despite having saved the world on two separate occasions can’t find a job. With the Decepticon scourge abated (for now) Optimus Prime Bumblebee and the rest of Sam’s Autobot pals have gotten side gigs as mechanized Hans Blixes roaming the planet in search of illegal WMDs and eliminating the regimes that harbor them. Feeling left out and finding little comfort in the arms his undeservedly hot girlfriend Sam yearns for a shot at more world-saving action.
He finds it soon enough when he is drafted into a plot so sprawling and convoluted that to describe it in full would extinguish what little neurochemical reserves I’ve managed to replenish since last night’s screening. It’s built on an enticing bit of revisionist history which casts the war between the Autobots and Decepticons as the real inspiration for the Cold War space race. It seems that many years ago an Autobot spacecraft carrying a technology that could turn the tide in their centuries-long war crash-landed on the moon. Alerted to the crash JFK immediately initiated the Apollo program with the specific purpose of harvesting technology from the craft before the Soviets could.
But that’s only part of the story as Sam learns when confronted with evidence by a raving co-worker (Ken Jeong) at his new job. (The two have a tussle in the loo – setting the stage for a hi-larious gay-insinuation joke. Vintage Bay!) Turns out there there’s much more to that fallen craft than anyone realizes and if its undiscovered cargo falls into the wrong hands – say Megatron and the Decepticons who are quietly regrouping in Africa – the implications could be devastating.
Dark of the Moon can be roughly divided into two parts. The first is a conspiracy thriller with a surreal comic bent with Bay aiming for – and dare I say nearly achieving – a quirky Coen Brothers vibe as Sam delves headlong into the moon mystery. (The presence of Coen veterans Frances McDormand John Turturro and John Malkovich among the cast reinforces the connection.) Credit screenwriter Ehren Kruger for recognizing that material this preposterous requires a suitably ludicrous sense of humor. But there’s also a sharpness and irreverence to Dark of the Moon’s wit that previous Transformers films have lacked. (It’s still however steadfastly juvenile: When Sam locks eyes with his future girlfriend for the first time his mom exclaims “What a gorgeous box!” while gazing at an unrelated object in the background.) Dark of the Moon's screenplay is a vast improvement over Revenge of the Fallen's in that it is an actual screenplay and not a stack of index cards.
The second half of the film centering on the Decepticons’ extended siege of Chicago unfolds essentially in one long action sequence. It’s as if Bay having sufficiently answered the biggest complaint about the previous film – the lack of a discernible plot – is suddenly unburdened free to commence the all-out sensory onslaught he’s been planning all along. In doing so he all but disavows the film’s first half rendering much of its storyline superfluous.
The battle scenes are truly epic – unprecedented in grandeur and scale and utterly resplendent in 3D – but the endless spectacle induces a kind of delirium. Each frame is positively crammed with images far more than our feeble non-Michael Bay brains could ever hope to process at the breakneck speed he presents them. And no two shots ever look the same: Even a simple shot-reverse-shot dialogue exchange shifts perspective on seemingly every other word. The net effect of Bay’s frenzied handiwork is a state of joyful discombobulation: mouth agape bewildered basking in the dopamine blush.
The Independent Spirit Awards kicked off the night with prizes going out to James Franco and Penelope Cruz for their supporting roles in Milk and Vicky Cristina Barcelona respectively.
Click Here: Watch Spirit Awards Live & Uncut
The night ended with The Wrestler and Mickey Rourke taking took top honors for best film and lead actor. Melissa Leo, who some may have seen as the under dog, rounded out the night winning best female lead for her performance in Frozen River.
The complete list of nominations & winners:
Rachel Getting Married
Wendy and Lucy
The Wrestler -- WINNER!
Ramin Bahrani, Chop Shop
Jonathan Demme, Rachel Getting Married
Lance Hammer, Ballast
Courtney Hunt, Frozen River
Thomas McCarthy, The Visitor -- WINNER!
Best First Feature
Medicine for Melancholy
Sangre de Mi Sangre
Synecdoche, New York -- WINNER!
John Cassavetes Award
In Search of a Midnight Kiss -- WINNER!
Prince of Broadway
Turn the River
Best First Screenplay
Dustin Lance Black, Milk -- WINNER!
Lance Hammer, Ballast
Courtney Hunt, Frozen River
Jonathan Levine, The Wackness
Jenny Lumet, Rachel Getting Married
Woody Allen, Vicky Christina Barcelona -- WINNER!
Anna Fleck and Ryan Boden, Sugar
Charlie Kaufman, Synecdoche, New York
Howard A. Rodman, Savage Grace
Christopher Zalla, Sangre de Mi Sangre
Best Female Lead
Summer Bishil, Towelhead
Anne Hathaway, Rachel Getting Married
Melissa Leo, Frozen River -- WINNER!
Tarra Riggs, Ballast
Michelle Williams, Wendy and Lucy
Best Male Lead
Javier Bardem, Vicky Christina Barcelona
Richard Jenkins, The Visitor
Sean Penn, Milk
Jeremy Renner, The Hurt Locker
Mickey Rourke, The Wrestler -- WINNER!
Best Supporting Female
Penelope Cruz, Vicky Christina Barcelona -- WINNER!
Rosemarie DeWitt, Rachel Getting Married
Rosie Perez, The Take
Misty Upham, Frozen River
Debra Winger, Rachel Getting Married
Best Supporting Male
James Franco, Milk -- WINNER!
Anthony Mackie, The Hurt Locker
Charlie McDermott, Frozen River
JimMyron Ross, Ballast
Haaz Sleiman, The Visitor
Maryse Alberti, The Wrestler -- WINNER!
Lol Crowley, Ballast
James Laxton, Medicine for Melancholy
Harris Savides, Milk
Michael Simmonds, Chop Shop
The Betrayal (Nerakhoon)
Encounters at the End of the World
Man on Wire -- WINNER!
The Order of Myths
Up the Yangtze
Best Foreign Film
The Class (France) -- WINNER!
Secret of the Grain (France)
Silent Light (Mexico/France/Netherlands/Germany)
Robert Altman Award: (Given to one film's director, casting director and ensemble cast)
Synecdoche, New York
Director: Charlie Kaufman Casting Director: Jeanne McCarthy
Ensemble Cast: Hope Davis, Philip Seymour Hoffman, Jennifer Jason Leigh, Catherine Keener, Samantha Morton, Tom Noonan, Dianne Wiest, Michelle Williams
Someone to Watch Award
Barry Jenkins, Medicine for Melancholy
Nina Paley, Sita Sings the Blues
Lynn Shelton, My Effortless Brilliance -- WINNER!
Truer Than Fiction Award
Margaret Brown, The Order of Myths -- The WINNER!
Sacha Gervasi, Anvil! The Story of Anvil
Darius Marder, Loot
Lars Knudsen and Joy Van Hoy, Tireless Mountain and I'll Come Running
Jason Orans, Goodbye Solo and Year of the Fish
Heather Rae, Frozen River and Ibid -- WINNER!
MORE NEWS: Is It Puppy Love for 'Slumdog' Stars?
Woody Allen’s neurotic-speak works wonders coming from a New Yorker but coming from a Brit? Not so much. The British could very well be just as phobic as anyone else but they are also repressed and trying to force the neurosis out just doesn’t ring as true. Nevertheless Allen is bound and determined to film abroad these days and thus once again sets Cassandra's Dream in contemporary London where we meet two brothers struggling to better their lives financially. The more blue-collar Terry (Colin Farrell) has a gambling problem and is in debt up to his eyeballs while enterprising Ian (Ewan McGregor) dreams of leaving his family’s restaurant and moving to California with his newfound love Angela (Hayley Atwell) an ambitious actress. Their only hope is their wealthy uncle Howard (Tom Wilkinson) but the boys quickly find out you can’t get something for nothing. You see Uncle Howard is also in a bit of trouble and he asks his nephews to help him out of his jam--with sinister consequences. First of all Farrell and McGregor look about as related as a dog and cat. Secondly they don't seem at ease in the film partly because their characters are anxious but also partly because they don’t mesh as well with Woody Allen’s sensibilities. Farrell fares a bit better since his natural Irish tendencies towards emotional outbursts fit the character well. His Terry is the one with the conscience and murdering someone just doesn’t sit well with him. McGregor on the other hand plays Ian almost robotically saying the words with as little emotion as possible which doesn’t do Allen’s dialogue any justice. Wilkinson falls under the same category as McGregor but his character is the one most morally challenged so playing it cold sort of works. The women in Cassandra's Dream are fairly wasted including newcomer Atwell as the manipulative actress and Sally Hawkins as Terry’s sweet and concerned girlfriend. Even the boys’ mother played by veteran stage actress Clare Higgins (The Golden Compass) comes off screechy. The cast must have all been thrilled to be in a Woody Allen movie to be sure but it just seems like Allen didn’t get them. Cassandra's Dream suffers from some of the same hang-ups as Match Point. Even though many heralded that 2005 movie as Woody Allen’s return the film had the same problems namely the ill-fitting British cast. At least Match Point had an American Scarlett Johansson whom Allen could pour all his tried-and-true fixations into--the paranoia the obsessiveness and the ultimatums. But Cassandra's Dream really proves that as a filmmaker Allen has become a stick-in-the-mud. He really hasn’t changed his tune in 25 years exploring the same themes over and over again and it’s finally getting old. When his films turn dark it’s usually about how murder can corrupt the soul. Natch. Sometimes the murderers however bothered they are by their deeds get away with it; sometimes they don’t. But rarely does Allen veer from this path making Cassandra's Dream a now very stale rehash of Crimes and Misdemeanors without the benefit of having at the very least some good old-fashioned Allen-styled American-acted neurosis to back it up.
Four tweener boys—Maps (Daniel Radcliffe) Misty (Lee Cormie) Spit (James Fraser) and Spark (Christian Byers)--have grown up together in a dusty Catholic orphanage deep in Australia’s outback during the 1970’s. The boys are fast friends partly because they are the home’s December Boys the only four born in that month. As the film begins all four are once again passed over by an adoptive couple--and disappointed once again in their collective dream of leaving the place and becoming part of a real family. But fate steps in as the foursome gets the life-altering chance to go for Christmas vacation to visit an elderly couple that lives by a gorgeous cove on the sea. As their holiday progresses the boys begin to compete for the affections of another family living in the magical cove a couple contemplating adopting a child. By the time the holiday is over all four have had an unforgettable life experience that will shape the rest of their days. Daniel Radcliffe branches out from his iconic role as Harry Potter with this terrific performance as Maps the eldest of the four orphan boys. As a slightly hardened teen who secretly longs for love and stability this character is very different from Harry (despite the orphan thread that links the two together) and Radcliffe inhabits him completely. The other three boys also give natural believable performances especially Lee Cormie who is the film’s narrator and central character. His portrayal of that bespectacled artistic smaller-than-the-others Misty is nuanced and brave quite the accomplishment for a kid who has only just turned fifteen. The rest of the gifted cast--including iconic Aussie actor Jack Thompson of classics like Breaker Morant and The Man from Snowy River--all add to the overall quality of this well- acted telling of an emotional but never sappy story of adolescent longing and coming of age. Australian Rod Hardy spent more than 20 years in Hollywood directing mostly episodic television with a few made-for-TV movies (Buffalo Girls) and feature films (Robinson Crusoe with Pierce Brosnan). With December Boys Hardy headed back home to use all that experience to make a film that speaks to the emotions of childhood which resonates into adult experience. Using the incredible landscapes of Oz as a key element of the story Hardy creates a visual cornucopia that parallels the emotional journey the four orphans take through the course of the film. His adept handling of many of the most universal life passages--first kiss loss of parents love/hate of siblings dealing with the death of a loved one--bring a strong realism to the story adapted from a novel by Michael Noonan. Yet there’s a hint of magical realism to the tale too as well as a strong religious undertone. All meld into a cinematic experience that will engage you and stay with you long after the credits roll.
A truck carrying hazardous materials accidentally drops one of its containers into a small lake contaminating it and its delicate ecosystem. Trouble arises when the wacky town entomologist feeds his collection of exotic spiders contaminated crickets which act as a sort of spider "steroid." The result is a horde of giant hairy spiders that prey on the town's unsuspecting inhabitants. Sheriff Sam Parker (Kari Wuhrer) doesn't believe her son Mike (Scott Terra) when he tries to warn her about what's going on but blames his "media-induced paranoid delusional nightmare" on too much boob-tube watching. Then when mining engineer Chris McCormick's (David Arquette) aunt gets spun--literally--into one of the spider's webs he enlists the help of Sheriff Parker and paranoid radio announcer Harlan Griffin (Doug E. Doug) to fight off the eight-legged freaks. Armed only with rakes ski poles and chainsaws the townspeople fight off the spiders in a losing battle before Chris comes up with a master plan that will blow the arachnids to smithereens.
Prankster Arquette (See Spot Run) tones down his funnyman routine in Eight Legged Freaks and takes on the role of the humble hero. It's refreshing to see Arquette playing a more subdued character with less of a slapstick edge although I half expected him to start yelling at people to "dial straight down the center." As the sheriff Wuhrer (Berserker) plays her dual role well as a headstrong single mother of two and the town leader. Sure she looks a little too hot to be a chief law enforcement officer but maybe some sheriffs really do look like that in small-town America. While the laughs may not have been coming from Arquette there were enough to be had thanks to Doug whose most memorable role to date has to be Sanka Coffie from the 1993 comedy Cool Runnings. His radio announcer in this film believes the government is conspiratorial and that the spiders are the alien invasion he has been warning people about for decades. Doug delivers some of the movie's funniest lines.
New Zealander Ellory Elkayem (Larger Than Life) wrote and directed Eight Legged Freaks a sort of homage to mid-1950s B-movie sci-fi thrillers like Tarantula or Earth vs. the Spider. But while these cult films were funny merely by accident--Tarantula director Jack Arnold probably wasn't being intentionally campy--Eight Legged Freaks at times seems to try too hard. Packing in one joke after another takes away from the spiders' scariness making them seem more like a practical joke than a potentially annihilating threat. The special effects are extremely slick however and the spiders are well done with techniques approaching those in the 1997 sci-fi actioner Starship Troopers (but none of the gigantic CGI spiders are as scary as the real-life tarantulas caged up in terrariums at the start of the movie). Although at 99 minutes the film moves quickly the final scene in which the townspeople are being chased through a labyrinth of mining tunnels drags on a bit too long.