Transformers: Review

Originally, the television cartoon series Transformers started as no more than a glorified advertisement for the toys being hawked by Hasbro and despite any pretense that Michael Bay possesses, his newest film, an update of the aforementioned TV show, is actually quite similar. It basically is there to sell the cars that the Transformers change into, to sell the toys that will inevitably follow the film as well as the sequels that the film will spawn. That being said, Transformers is one of the more entertaining commercials in recent memory, assuming that one looks for no more. Led by a surprisingly good performance by Shia LaBeouf, the film is a audio-visual feast, featuring many of Bay's signature over the top sights and sounds but for the most part, surprisingly avoiding some of the directors most absurd moments.

The film tells the story of Sam Widwicky (LaBeouf), a normal teenage boy, who has the great (mis)fortune of buying a used Camaro which turns out to be a Transformer. He also ends up being the great grandson of a famous explorer who first discovered the crash landed Megatron in the Arctic Circle, during an expedition in the late 19th century. Sam is in the possession of his ancestors glasses, which holds a tiny map to preserving life on earth if the Decepticons (the bad Transformers) were ever to attack. The map leads to a special device from the Autobots (the good Transformers)/ Decepticon's planet called the AllSpark that is residing on Earth after it was launched off of the Transformers home during a war. The Autobots (the good guys) arrive on Earth to search for the AllSpark. Chaos ensues. That’s about it and despite some unwelcome storyline diversions, the film mostly stays focused on allowing the robots to duke it out. Let's be honest here, no one is going to Transformers for existential pondering. Bay realizes this (!!!!) and keeps his camera on the action. There is the mandatory love story thrown in there but ultimately, it takes a back seat to the action.


In short, Transformers works as a Michael Bay film precisely for the fact that it is very un-Bay like. Sure, the hyper-stylized editing and camera work is pure Bay but the rather surprising lack of self-importance is not. Unlike, say, his most recent work, The Island, which was miserably weighed down with an unbearable seriousness (a Bay signature if there ever was one), Transformers stays soundly in the realm of Saturday morning 'toons, utilizing the goofy humor the original series possessed. I found myself chuckling along with the one liners that I usually groan at and I must admit, that it was a pleasantly surprising feeling. Not since The Rock has Bay created a mindless work that feels so welcoming, so inviting in its loud, empty cries. What ultimately destroys Bay's work is not his technical skill (he is a more than ample visual stylist) but his inability to tell an entertaining story without trying to imbue it with a greater importance. In other words, he rarely can simply make a big, dumb actioner that is truly a big, dumb actioner. Too often, the films are muddled with useless themes and emotions.

LaBeouf is a welcome surprise, ably carrying the fragile emotional thrust of the narrative, yelling and screaming his way through the film as he runs from increasingly dangerous robots. However, his handling of the initial moments with his love interest, Mikaela (played by the attractive Megan Fox) seem heartfelt and humorous. Fox slinks through the film, all looks and little skill, leaving her emotions at the door as if she doesn't want them to get in the way of her body. LaBeouf and Fox share a likeable charisma that sustains their romantic angle, one subplot that works well. The rest of the cast is middle of the road, with Kevin Dunn and Julie White standing out as LaBeouf's parents but their performance is cancelled out by an underused Jon Voight and John Turturro, who both have more talent than is on display here. Turturro is particularly disappointing, a mixture of lackluster performance and character that never really takes off.


The film moves well during its action sequences but ultimately grinds to a slow crawl during any scenes of exposition. At this point, most people should realize that Bay's strong point is not drama, with almost every moment of the film not involving the Autobots/ Decepticons, noticeably lacking in any forward momentum. As a result, the film feels long and by the end of final sequence, the first of which feels truly Bay-esque in its grandiosity, I was ready for the film's finale. Luckily, the denouement is almost non-existent, only lasting a few moments as Optimus Prime quickly tacks an epilogue onto the film. That being said, the film never feels overlong and doesn't outstay its welcome. It could have possibly gotten away with a couple of cuts but overall, the length is not terrible.

Transformers' true highlight is it's jaw dropping special effects with all of the Transformers being wonderfully brought to life by the masters at ILM. Optimus Prime and Megatron are particularly astonishing and their final, climatic battle is a tension filled, visual feast that provides one with all the required images of destruction and mangled steel. The action sequences are effective and keep the film from losing steam, revitalizing the storyline with each punch. Fortunately, there is enough action to sustain the running time of 144 minutes. Look for this one to be at the short list of Oscar Nominees for Best Visual Effects but look out for Danny Boyle's Sunshine, which looks to be incredible.


As I walked out of the theater, a sense of excitement had gripped me. After all, one of the beloved franchises of my youth had not been butchered by one of my least favorite directors. In fact, Transformers is a rather enjoyable blockbuster and is much closer to a four star rating than a two. For any child of the 80's, it is a pleasant diversion that goes well with the other 80's revival entry, Live Free or Die Hard. Surprisingly enough, despite my bracing myself for the worst, both films came out well, saved by their spectacular set pieces. While LFoDH works better due to its minimal narrative diversions, Transformers stands as Bay's best film since The Rock and is a close second to the Connery/Cage vehicle as Bay's crowning achievement. For those who are hesitant, check it out in a matinee: it is certainly worth the $7.00 or so.

***