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.
After the death of their parents Rashad (Tip "T.I." Harris) and his younger brother Ant (Evan Ross) have to fend for themselves. Trying not to think about his pending high school graduation Rashad works as a janitor for his stingy uncle (Mykelti Williamson) and hangs out with his friends practicing for the Skate Wars competition at their local roller rink. Ant however approaches life differently after he hooks up with Marcus (Big Boi) a big-time drug dealer in the area. Marcus recruits Ant to do his dirty work and the kid gets himself tangled up in the harsh world of drugs money and violence. It’s up to his older brother to get him out of it and finally steer him in the right direction. ATL proves some rapper-turned-actors can indeed be in a movie not based on their real lives. Known as “The King of the South” in the rap world T.I. displays some notable acting skills. Born and raised in the ATL (that’s Atlanta to us lay folk) his southern slang and cool demeanor lend credibility. As well Big Boi (half of the Atlanta-based hip-hop group OutKast) does a nice job giving his drug lord character multi-layers. He plays it smooth recruiting high school kids and promising them more money then they have ever seen. When they don’t pay up he then turns on a dime and becomes quite menacing. And watch out for Evan Ross the youngest son of the legendary Diana Ross. In his debut performance as Ant he tugs at your heart even when you’re hoping Rashad will smack him for the bad choices he makes. Music video director Chris Robinson makes his feature directing debut with ATL a story loosely based on ATL producers Dallas Austin and Tionne “T-Boz” Watkins’ (of TLC fame) experiences growing up in Atlanta. With many of the hottest hip-hop artists coming out of Atlanta Robinson--along with first-time screenwriter Tina Gordon Chism--impressively incorporates the music without focusing on it. Sure the soundtrack crunks it up but this is not a film about a wannabe rapper trying to make it out of the ‘hood and into the spotlight. There aren’t any lengthy shootouts and no one dies. Instead ATL interweaves compelling themes of family dynamics rich vs. poor--and even a roller skating motif which seems to come out of left field but provides some fun moments. ATL is a breath of fresh air for a hip-hop movie that isn't about hip-hop.
September 17, 2003 9:40am EST
Justin Timberlake, 50 Cent, Eminem, Sean Paul, Missy Elliott, Kid Rock, Ashanti, Beyoncé, R. Kelly, Luther Vandross, Celine Dion, Norah Jones, Toby Keith, Tim McGraw, and Shania Twain each received two nominations Tuesday for the 31st annual American Music Awards. But with two nominations going to a multitude of artists, no clear favorites emerged.
In the pop-rock category, Timberlake received nods for favorite male artist and favorite album for Justified. Kid Rock also received a nod for favorite male artist and album for Cocky in the same category.
Dion, Avril Levigne and Jennifer Lopez were all nominated for favorite female artist in the pop-rock category. Dion, however, also crossed over into the adult contemporary group, where she also earned a nod for favorite female artist.
Rapper 50 Cent and dancehall singer Sean Paul, meanwhile, will be duking it out for favorite male artist and favorite album in the rap-hip hop category. Rapper Eminem also received two nominations for favorite male rapper and for the soundtrack to 8 Mile.
Cold Play, Linkin Park and Metallica were nominated for favorite alternative artists.
The AMAs, hosted this year by Jimmy Kimmel, will be presented Nov. 16 at Los Angeles' Shrine Auditorium and broadcast live on ABC.
The nominations for the AMAs are based on sales figures and radio play, with winners selected by a survey of about 20,000 listeners. Here is a list of nominees:
Band, Duo or Group
3 Doors Down
Come Away With Me, Norah Jones
Cocky, Kid Rock
Justified, Justin Timberlake
Band, Duo or Group
The Isley Brothers
Chapter II, Ashanti
Dangerously In Love, Beyonce
Chocolate Factory, R. Kelly
Dance With My Father, Luther Vandross
Band, Duo or Group
Black Eyed Peas
Lil Jon & The East Side Boyz
Under Construction, Missy Elliott
Get Rich Or Die Tryin, 50 Cent
Dutty Rock, Sean Paul
8 Mile, Soundtrack
Band, Duo or Group
Brooks & Dunn
Unleashed, Toby Keith
Tim McGraw & The Dancehall Doctors, Tim McGraw
Melt, Rascal Flatts
Up!, Shania Twain
Steven Curtis Chapman