Men, Women, & Children, Hercules, The Hundred-Foot Journey, Jersey Boys, 3 Days to Kill, The Captive, Maleficent, Noah, The Monuments Men, Into the Storm, Devil’s Knot, A Million Ways to Die in the West, Pompeii, Transcendence
Exodus: Gods and Kings, The Judge, The Equalizer, Magic in the Moonlight, Godzilla, The Amazing Spider-Man 2, Before I Go to Sleep, Sin City: A Dame to Kill For, God’s Pocket, Horrible Bosses 2, Sabotage, Deliver Us From Evil, Non-Stop, Mandela: Long Walk to Freedom, Jack Ryan: Shadow Recruit, The Water Diviner
Stars: Mark Wahlberg, Stanley Tucci, Kelsey Grammer, Nicola Peltz
Release Date: June 27th, 2014
Distributor: Paramount Pictures
Running time: 165 minutes
Best part: The CGI-fuelled slo-mo shots.
Worst part: The egregious run-time.
Throughout Hollywood’s latest bowel movement, Transformers: Age of Extinction, we are subjected to idiotic characters who know more about pop-culture and filmmaking than anyone involved with the production itself. At one point, a senile retiree complains about Hollywood’s infatuation with sequels and remakes. At another point, the comic relief pokes fun at this franchise’s infamous foibles. Afterwards, another character defines a ‘flaw’ as a “serious failure”.
Obviously, this would mean something if this series had been placed in the right hands. Unfortunately, all we can do now is sit back and watch the collapse of blockbuster cinema under the terrifying reign of multi-billionaire hack Michael Bay (Armageddon, Pearl Harbour). Marking itself as the defining point of ‘big-budget schlock fatigue’, Transformers: Age of Extinction relies on shrieking families and hormonal teenagers. Beating his audiences to a pulp, Bay knows that a single person conveys significantly more intelligence than a large group of people. Rushing into the cinema, said crowds have made this instalment the year’s most profitable movie. I used to defend this franchise for being “fun” and “exhilarating”. Nowadays, I look back on my younger self and laugh at his overwhelming stupidity. Of course, for my loyal readers, I should at least make an effort to describe this instalment’s underwritten and overcooked story. I know, words like ‘narrative’ and ‘subtext’ don’t belong anywhere near this series. However, to launch into my searing hatred of Bay’s latest cinematic slip-up, I should point out just how dumb everything is about it. First off, I’ll delve into the ‘human’ aspects of this horrific mess. On the modest side of this disastrous flop, we have farmer/roboticist/man-child Cade Yeager (Mark Wahlberg). Living by his stupid name, his immature antics threaten he and his daughter Tessa(Nicola Peltz)’s livelihoods. With eviction and embarrassment looming over them, Yeager’s aspirations clash with major obstacles.
In a better world, this story-thread would’ve fit perfectly into this monstrous action flick. Sadly, with Bay at the helm, this sequel’s narrative sluggishly transitions from bad to worse. Don’t get me wrong, I love blockbusters of all shapes and sizes. I regularly review Summer tentpoles to gain an informed perspective on pop-culture and modern entertainment. However, I can’t possibly defend anything as hackneyed, pointless, and dumbfounding as Transformers: Age of Extinction. In fact, with my laundry list of criticisms in tow, it’s difficult pinpointing anything even remotely worthwhile here! From the opening frame, Ehren Kruger’s wafer-thin script becomes lost in a barrage of questionable concepts, trite character arcs, and hokey emotional beats. Within the first third, the familial drama turns this gargantuan extravaganza into a cheesy and stupefying miscalculation. In addition, along with the Marky Mark’s family woes, the movie throws several more plot-lines into this bloated and inconsistent concoction. An elite task force called Cemetery Wind – headed up by alien bounty hunter Lockdown, CIA agent Harold Attinger (Kelsey Grammer), and spec-ops ‘badass’ James Savoy (Titus Welliver) – has been assigned to kill the remaining Autobots and Decepticons. In addition, egomaniacal tech-head Joshua Joynes(Stanley Tucci)’s has developed a new element labelled, you guessed it, Transformium. Like the preceding Transformers sequels, these narrative threads are cumbersomely and nonsensically thrown together.
“I think we just found a Transformer!” (Cade Yeager (Mark Wahlberg), Transformers: Age of Extinction).
Optimus Prime doin’ his thing!
Used specifically to jump from one action sequence to another, this instalment’s bloated plot delivers more plot-holes and irritating moments than two M. Night Shyamalan disasters and Prometheus combined. Why are Tessa and her boyfriend bound by Romeo & Juliet laws? Why do Yeager and co. tag along with the Autobots? Why are US Government forces killing some robots whilst creating more powerful ones? Seriously, this review could just consist entirely of these questions! However, pathetically, people turn out see gigantic CG-driven creations smash into one another for interminable periods. At a whopping 165 minutes, the question must be asked – does a Transformers flick really need that much time to gestate? No, of course it doesn’t! Protecting our annoying lead characters, the Transformers themselves are given short shift. Pushed literally and figuratively into the background, our Autobot buddies are defined by phoney speeches, heavy-duty weapons, and dated stereotypes. Along with Optimus Prime and Bumblebee (both poorly represented here), the movie throws in a cigar-chomping truck (John Goodman), a Samurai/helicopter (Ken Watanabe), and a trench-coat/wing-donning Aussie-bot. Beyond the glaring flaws, including the hit-and-miss CGI, Bay still delivers a few inspired shots and set-pieces. Infatuated with explosions and product placement, the coked-up buffoon is let off the leash in the final third. The China set-piece, set up specifically to attract an asian demographic, provides some relief for this otherwise damaging experience. Bafflingly so, however, the marketing-drenched Dinobots show up late to the party – given only 15-20 minutes of screen-time.
Can you believe $210 million went into this irritating and exhaustive schlock?! Nope? Well, neither do I. Sadly, beyond our control, the studios are throwing, and will continue to throw, money at Bay and his ongoing ‘vision’. Bay, with all his bigger-is-better gusto, has delivered the ultimate example of overcompensation. Destroying his already damaged reputation, Bay’s latest effort proves his worth as little more than an Independence Day fireworks show technician.
Verdict: Bay’s catastrophic descent into director hell.