WHAT IT’S ABOUT?
The uber-anticipated sequel Transformers: Revenge of the Fallen picks up shortly after the events of the blockbuster first film. With evil Megatron’s carcass buried at the bottom of the ocean Optimus Prime and his Autobot comrades working together with an elite group of human soldiers are now focused on hunting the remaining Decepticons scattered across the globe. Sam Witwicky hero of the 2007 movie is busy preparing for his first year at college while his unlikely girlfriend Mikaela Barnes stays behind to tend to her father’s auto-repair shop. Little do they know however that back on Cybertron a Decepticon elder known as “The Fallen” is hatching a scheme to invade Earth where hidden somewhere on the planet is the last known source of energon the life-blood of all Transformers. If he succeeds the devastation left in his wake will no doubt spell the end of the human race. With the fate of Earth hanging in the balance Sam and Mikaela must once again have to team up with Optimus and the Autobots to defeat this powerful new foe.
WHO’S IN IT?
All the major human players from the first Transformers film are back for the sequel including Shia LaBeouf Megan Fox Tyrese Gibson Josh Duhamel and John Turturro. Newcomers include Ramon Rodriguez who plays Sam’s conspiracy-obsessed college roommate Leo and The Office’s Rainn Wilson who enjoys a notable cameo as a pompous physics professor.
Of course the actors merely serve as background filler for the real stars of the show: those titular talking-alien robots. And director Michael Bay fills up the screen with enough mechanical eye candy to dazzle even the most skeptical gearhead. Returning characters include Optimus Prime Bumblebee Ratchet Ironhide Barricade Jazz (don’t act surprised) Starscream Frenzy and Megatron (again don’t act surprised).
Several new Autobots are introduced to the mix: Mudflap and Skids a pair of jive-talking ceaselessly annoying hatchbacks; Jolt a Chevy Volt; Sideswipe a silver Corvette; and Jetfire an elderly Decepticon turncoat who walks with a cane speaks with an English accent and transforms into an SR-71 Blackbird. Additions to Decepticon side include: The Fallen who we learn is the Decepticons’ real head honcho (consider him the Emperor Palpatine to Megatron’s Darth Vader); Soundwave a communications specialist who sinks his tentacles into a satellite and spies on us from above; Ravage a panther-like creature; Wheelie a radio-controlled truck who talks like Joe Pesci; “the Doctor ” a sort of mad scientist who speaks with a German accent (naturally); and the Constructicons a group of construction vehicles that fuse together to form a massive four-legged beast.
No director does over-the-top explosion-laded action better than Michael Bay and Transformers: Revenge of the Fallen features several staggering set pieces. The CGI work on this film makes the last one look like it was designed on a Commodore 64.
Any scene in which people talk — and several of the ones in which robots talk too. Just as the action and visual effects are beefed up for the sequel the bad jokes and cringe-worthy dialogue are as well. Highlights include two dogs humping John Turturro in a thong a robot humping Megan Fox’s leg a sequence involving Sam’s stoned mom and a glimpse of a very large pair of testicles on one very large Decepticon. The latter will likely go down as the “nipples-on-the-Batsuit” moment for the Transformers franchise.
The show-stopping climax set in the Egyptian desert is one extended riotous battle royale packed with so much robot-on-robot action you’ll feel overwhelmed at times.
NETFLIX OR MULTIPLEX?
This big-budget spectacle begs to be seen at the multiplex — IMAX if possible. Just bring a pair of earplugs for the dialogue sequences. You might want to bring some Dramamine as well as Mr. Bay went a little overboard with his trademark circling-camera sequences this time around.
Crystal Lake. Dumb kids in the woods. Sex drugs booze. A hulking maniac in a hockey mask wielding a machete. Yeah that about sums it up.
Are you kidding? The new Jason Derek Mears probably fares best among the actors because he doesn’t have a single word of dialogue. Everyone else unfortunate enough to stumble in front of the camera – Jared Padalecki Amanda Righetti Danielle Panabaker Travis Van Winkle – is basically fodder for the slaughter. Some of them get naked. Most of them get dead. Some die more gorily than others. No one dies quickly enough. Having previously (and woefully) directed the 2003 remake of The Texas Chainsaw Massacre helmer Marcus Nispel does his best – and worst – to resurrect yet another popular horror franchise from the past. He also adds absolutely nothing new to the formula. Quite frankly anyone could’ve directed this film. Judging by the results anyone did. This is the 12th Friday the 13th film for those keeping score at home and with any luck it’ll be the last. Of course it won’t be. But we can always hope.
Attractive college co-ed Casey (Odette Yustman) finds herself the target of the diabolical Dybbuk a spirit which has bided its time since her birth to make its nefarious presence known. Is it perhaps a manifestation of her twin brother who died in the womb all those years ago? Since dear old Dad (James Remar) is away on business -- seemingly for the entire length of the movie -- concerned Casey seeks answers from Sofi Kozma (Jane Alexander) a survivor of the Holocaust who may hold the key to Casey’s past. Needless to say those to whom Casey confides her fears often find themselves in danger of being offed in gruesome fashion. (Misery may love company but the Dybbuk doesn’t.) In a last-ditch effort to rid herself of the evil spirit Casey turns to Rabbi Sendak (Gary Oldman) who finally agrees to perform an exorcism after he too sees the signs. Aside from acting terrified (and looking good doing it) Yustman (Cloverfield) is totally at the mercy of the story which shows little mercy when it comes to providing any concrete (or even shaky) answers to the questions it raises. She’s attractive but there’s not much else to the character. As Casey’s respective boyfriend and best friend Cam Gigandet (Twilight) and Meagan Good (Saw V) are merely functionaries offering the typical mixture of skepticism and support before learning for themselves -- too late of course! -- that maybe Casey’s suspicions have validity. Adding a (misplaced?) touch of class to the proceedings are Oldman who doesn’t embarrass himself and Alexander who isn’t so fortunate. It’s also a wonder why Carla Gugino seen occasionally in flashback as Casey’s deceased mother even bothered. It’s a nothing role which might explain why the actress has no billing other than in the end credits. There’s no question that writer/director David S. Goyer has a deep love and appreciation for horror and science-fiction given his previous credits which include the scripts for Dark City Blade and The Dark Knight but as a director his work (which includes Blade: Trinity and last year’s The Invisible) leaves much to be desired. There are some good ideas here and some individual scenes are reasonably effective but the parts don’t add up to a satisfactory whole. The Unborn suffers from a botched delivery.
Spanning from WWI to the 21st century Eric Roth’s screenplay (based loosely on a 1922 short story by F. Scott Fitzgerald) tells the unique story of a man named Benjamin Button (Brad Pitt). He is born in New Orleans as a very old baby the equivalent of a man in his 80s who then ages backward into youth over the better part of a century. The film is told in flashback by a very old dying woman Daisy (Cate Blanchett) who recounts her tale to her daughter (Julia Ormond) from a hospital bed during Hurricane Katrina. Left on the doorstep of a retirement home one night by his father (Jason Flemyng) Benjamin is brought up by Queenie (Taraji P. Henson) who runs the place. While there he meets a young girl Daisy who will become a key figure -- romantically and otherwise -- in his life. Ben does have some grand adventures: He goes to work on a boat sees sea battles during WWII finds love with an older married woman (Tilda Swinton) -- and gets progressively younger as the decades fly by. It all manages to be alternately haunting romantic funny epic emotional and incredibly moving and will likely to stay with you a lifetime. Brad Pitt manages to deliver a thoughtful and subtle performance through all the special effects makeup and CGI. He does so much just by using his eyes. Cate Blanchett is equally fine as she plays Daisy from a teenager to an old woman and matches Pitt in bringing an entire lifetime skillfully to light. Her aging makeup is completely natural and she’s very moving in the hospital scenes opposite Ormond. Henson is just marvelous as Queenie a warm and understanding soul. Swinton is elegant and memorable in her few crucial encounters with Ben and plays beautifully off Pitt. Jared Harris (TV’s The Riches) as the colorful Captain Mike who hires Ben on his tug boat and Flemyng (The League of Extraordinary Gentlemen) as Ben’s father are also effective in their brief screen time. Interestingly Benjamin Button has been gestating for decades in the Hollywood firmament but needed time for the proper technology to catch up to it. Director David Fincher (Zodiac Fight Club) with his early background at George Lucas’ ILM proves to be the perfect choice to marry a compelling story with spectacular visual effects achievement. He did not want to do the film unless the technology allowed one actor to play the role throughout the course of the film. Remarkably they were able to achieve this superimposing Brad Pitt’s face and eyes into all the incarnations of Ben Button. In one sequence Pitt looks just like he did in Thelma and Louise. It’s an amazing feat. He has seamlessly created a unique universe without ever bringing attention to it advancing the art of screen storytelling leaps and bounds ahead of everything else that has come before. Benjamin Button is a plaintive and provocative meditation of life death and what we do while we are here. It’s the stuff of dreams.
Back in the 1980s when bad-hair rockers ruled so did Randy “The Ram” Robinson (Rourke) a champion wrestler who finds himself at the end of the line. Too many steroids and too much partying have taken their toll on the middle-aged wrestler whose health is failing faster than his self-esteem. In his own way Randy’s just trying to salvage what’s left of his life. Trouble is he doesn’t know how and after retiring from wrestling he discovers that the ring is the only place he’s ever found a modicum of dignity and self-satisfaction and undertakes a comeback that is perhaps unwise but nevertheless inevitable. It’s all he knows. In a performance bound to be much talked-about during awards season Mickey Rourke brings distinct echoes of his own persona and career to the role of Randy “The Ram” Robinson. Yet to be fair to screenwriter Robert D Siegel it’s also a strong and nuanced piece of writing. Character studies are few and far-between these days in Hollywood. This picture not only qualifies but qualifies as something on the level of a 21st-century Requiem for a Heavyweight. The film is unquestionably a showcase for its leading man but there’s exceptional supporting work. Marisa Tomei (who’s made something of a comeback for herself lately considering her work here and in last year’s Before the Devil Knows You're Dead) plays a stripper not quite of the golden-heart variety but close who takes a shine to Randy and Evan Rachel Wood as Randy’s long-estranged and long-embittered daughter. Additional flavor is added by the appearances of many real-life pro wrestlers in the background. But there’s no question to whom this movie belongs to and Rourke’s performance is indeed among the very best and perhaps the single most appealing of his screen work to date. Since his auspicious feature debut Pi a full decade ago Darren Aronofsky has made two subsequent feature films -- the powerhouse adaptation of Requiem for a Dream and the epic fantasy romance The Fountain which polarized audiences; he’s made every one count. In some ways this is his most accessible and human film but it’s in no way a traditional crowd-pleaser. It’s gutsy and gutty yet heartfelt. It’s also unlike Aronofsky has ever done before although there are a few thematic echoes to his earlier work (particularly The Fountain in terms of the principal character’s musings about loss) and again helps to stake his claim as one of today’s most daring young filmmakers -- unwilling to coast on previous success and instead intent on treading new ground each time out.