Transformers The Reviews Thread

[Marvin]

according to others the transfomers dialogue, which is very in tune with the way they "expressed" themselves in the cartoon

is one of the cheesier elements to the film according to the masses...

typical, fans want it/love it
reality, it ends up being cheesy in that it's very true to the material
type scenarios

 

[Avangarde]

IMO, replacing the original story with a magic box is cheating the audience. Other things like making Jazz a lil' guy cannon fodder instead of the 2nd in command is cheating the audience. Why not make the hottest hot-rod in the movie a conceited prick?... like Sunstreaker was. That's cheating the audience. Why cliche everything up?

Sad thing is [blackout] Jazz is refered by Prime as his lieutenant [/blackout], it doesn't seem right though IMO.

 

[arty2]

Washington Post's review (positive)

'Transformers,' Turning Into High-Tech Entertainment

By Desson Thomson
Washington Post Staff Writer
Monday, July 2, 2007

Director Michael Bay -- of "Armageddon" and "Pearl Harbor" -- has superbly universalized the Transformers franchise, a behemoth of a subculture that includes a 1980s animated television series, comic books, the Hasbro line of toys, a 1986 movie and Japanese TV spinoffs with titles such as "Transformers: Super-God Masterforce."

Sure, his movie (co-produced by Steven Spielberg) targets those who grew up with profound or casual familiarity with the Transformers. He's deeply aware that potent childhood memories are at stake here. Which is why "Transformers" has some of the best action sequences you'll see all summer, including a way-cool shootout between a tank-size, scorpion-tailed Decepticon and American soldiers in the Middle East desert.

But in Bay's hands, the movie's about more than explosions and robots. It's also a warmly appealing comedy centered on delightfully jittery teenager Sam Witwicky (Shia LaBeouf), who has to not only save the world but also watch for the facial blemishes and dorky moves that might jeopardize his other pressing project--getting into the good graces of comely new companion Mickaela Banes (Megan Fox).

Sam's worries don't end there. He has to tiptoe around a pair of particularly inquisitive parents (Kevin Dunn and Julie White), who remain blissfully unaware of his mythical responsibilities. (As Sam's mom, White is the movie's ultimate scene stealer -- at one point engaging Sam in a frank discussion about self-gratification, oblivious to the gigantic robots lurking outside the house, scuffing up the lawn.)

We could outline the outer-space conflict that brings good alien robot Optimus Prime (voice of Peter Cullen) and his evil adversary Megatron (Hugo Weaving) to Earth, and how they desperately seek an all-powerful cube of life-giving energy, hidden somewhere on the planet. We could explain how Sam's involvement stems from a startling discovery made by his great-great-grandfather in the 1870s. But the joys come in discovering these things for the first time, and enjoying such eye-bulging special effects as Sam's dusty old Camaro -- his first car! Bought by his dad! -- turn into a building-size (and sweet-natured) transformer by the name of Bumblebee (voice by Mark Ryan).

That boy-and-his-machine relationship follows the affecting tradition of films such as Brad Bird's animated "The Iron Giant," featuring a heart-melting affection between a 9-year-old boy and his giant robot from outer space, or the second and third "Terminator" films, in which the young John Connor befriends the imposing Terminator, as far more terrifying machines threaten humankind. For audiences, the emotional pull comes in finding a hint of humanity amid all that circuitry. And in "Transformers," we seek, and find, the same connection.

"Transformers" also underscores how emotionally connected we have all become to technology -- our cars, computers, cellphones and BlackBerrys. We personalize our various machines, as if they're the inorganic equivalent of the wet-nosed family dog. We customize ring tones on our cellphones. We agonize over the right desktop images. We demand Bluetooth and GPS in our vehicles. We think of those instant messaging beeps as the chirpings of friendliness. So what's so crazy, really, about a blitzkrieg action flick that takes that irrational sense of attachment and runs with it, laser projectiles flying overhead? It's just another day in the hi-tech neighborhood.

 

[CFlash]

Sad thing is [blackout] Jazz is refered by Prime as his lieutenant [/blackout], it doesn't seem right though IMO.

In the movie? Well thats cool. At least they mention it. If we see him barking Prime's orders to the troops, that'd be cool.

 

[Avangarde]

In the movie? Well thats cool. At least they mention it. If we see him barking Prime's orders to the troops, that'd be cool.

Prowl was Primes 2nd in command

 

[arty2]

Boston Globe's review (positive)

Rock 'em, sock 'em robots

With lifelike effects and more humanity, '80s action figures get a new look in 'Transformers'

By Wesley Morris, Globe Staff | July 2, 2007

The trouble with most megabudget action spectaculars is that you can't always tell where the money went. Director Michael Bay doesn't have that problem. When you see a mine clearance vehicle turn into a deadly 30-foot rollerblading robot in his new "Transformers," it's pretty obvious where the money went.

At 2 1/2 hours, "Transformers" is a partly impressive, partly inane buck-banging toy of a movie. At stake is protecting whatever parts of Earth aren't destroyed in battles between warring metallic factions from outer space. The film starts off like an alien-invasion picture, telling the Transformers story as though it were "Independence Day." The new movie offers a much better time than that one. But unlike the mid-1980s cartoon TV series the film is based on (which had only a few humans), the earthlings-to-robots ratio favors the earthlings, which leaves the Transformers themselves riding the sidecar in their own movie.

Transformers, of course, comprise the good Autobots and the evil Decepticons . Both factions are imposing robots who contort themselves to become machines like trucks and supersonic fighter jets. In a dicey bit of cross-promotion, the movie uses the occasion to hawk Hummers, Pontiac roadsters, and GMC trucks, which are some of the vehicles Autobots turn into. The Decepticons become ominous cop cars ("to punish and enslave" reads the motto) and anonymous military vehicles -- more intimidating but harder to buy.

They're all only vaguely like the old Hasbro action figures who, in addition to the series, were featured in a great animated epic movie in 1986. The full colorful bodies of the original Transformers have been upgraded to look simultaneously skeletal and steroidal. Picture the Terminator crossed with whatever was after Sigourney Weaver in the "Alien" movies. One nasty little shape-shifting critter, however, is all limbs and funny growls: a little bit Gremlin, a little bit Johnny 5. And because they lack the distinctive girth and vivid design of the cartoon, when they fight, it's frustrating trying to tell who's the Autobot and who's the Decepticon .

In any case, they've brought the fight on their planet to this one. Both sides are in pursuit of a cubed life-force called the Allspark that in Decepticon hands could turn simple machines into robotic weapons of destruction. But there's a horny teenage boy unwittingly in the way. His name is Sam Witwicky , and to play this smart aleck on a parental short leash, Shia LaBeouf seems just to have wandered over from the set of "Disturbia."

Sam knows something about the Allspark that he doesn't know he knows. Otherwise, he just wants a car and a girl. He gets both: a dirty, yellow used Camaro and Mikaela (Megan Fox ), some jock's new ex (apparently she's used, too). Written by Alex Kurtzman and Roberto Orci , the movie playfully folds in Sam's pursuit of her with the Decepticons' pursuit of him. Meanwhile, the Camaro (a personable Volkswagen Bug in the cartoon) is an Autobot named Bumblebee , who introduces Sam and Mikaela to his fellow four Autobots, including their leader Optimus Prime . Reassuringly, the velvet-throated Peter Cullen still provides the leader's commanding voice.

To find the cube, these guys are in a hurry for Sam to fetch an important planet-saving prop from his house. While the kid and his girl slip inside, the Autobots stand around impatiently, only halfway heeding Sam's instructions to stay hidden. Instead, they trample his parents' lawn and peer into the windows, barely avoiding an encounter with Sam's dad and tipsy mom (Kevin Dunn and Julie White ), who are anxious to know what their son is doing in his bedroom.

This is a fantastic sequence. For one thing, the effects -- which are state-of-the-art throughout "Transformers" -- are put to brilliant use. Sure, Sam's Craftsman-style house gives us a vivid sense of the Autobots' scale and textures (the contrast of cold, gleaming metal against soft, dark wood). But crowding around it and stooping over to peek inside, they seem incredibly lifelike. Bay even allows the humans their humanness, too -- elsewhere, John Turturro and Anthony Anderson are very funny in smallish parts, and White steals the movie. (Blockbusters this expensive with effects can't afford big stars. So they're a boon for good and affordable character actors like Dunn, Anderson, and White --and for us, too.)

Before that moment at the Witwickys' and well after it, Bay tries to blow us away with action sequences set gratuitously on an American army base in Qatar, aboard Air Force One (Jon Voight is the secretary of defense), at Hoover Dam, and on the heavily peopled avenues of one of his custom composite cities (call it Los Detroitangeles). They're the sort of muscular spectacles you expect from the demolitionist who used Cuba as a playground for Will Smith and Martin Lawrence to upend in "Bad Boys II."

But Bay can do mass-scale disorder in his sleep. That little actionless sequence, with its playful comedy and light suspense, is a side of the director we haven't seen before. Steven Spielberg is one of this movie's producers, and these scenes imply his influence. The delicate touch on display for these 20 or so minutes, which feel like some of the quieter scenes in the "Jurassic Park " movies, prove that Bay can do more than crush bones. They also suggest that finesse in a blockbuster might be the most mind-blowing special effect of all.

Wesley Morris can be reached at [email protected]. For more on movies, go to boston.com/ae/ movies/blog.

 

[ShadowBoxing]

you are wrong.

Fantasy and fiction is not meant for a single interpretation and conclusive analysis.

Yeah they are, and it's called Hermeneutics, a scientific method for content analysis. Chances are if you aren't using that you could be BSing something onto a text that isn't there. This is not to say everyone agrees, but it is to say if you wish to prove your viewpoint about a movie you have to use content analysis and PROVE your arguement. I get the impression that reviewer wasn't.

 

[Dotten]

Down to 67% at RT now. The negative reviews are kind of crappy, litle constructive criticism. Much of the "I hate bay" and from people who clearly has no child in them at all.

Some valid criticism one can find, but its not much. Ahh, well. Their loss.

 

[CFlash]

Prowl was Primes 2nd in command

Not in the original bio cards, which state Jazz is Prime's right-hand man, and original cartoon miniseries, where Jazz is clearly seen playing the "Sarge" or XO role.

 

[ShadowBoxing]

Not in the original bio cards, which state Jazz is Prime's right-hand man, and original cartoon miniseries, where Jazz is clearly seen playing the "Sarge" or XO role.

Prowl WAS the second in command. That is correct. When Optimus was absent (in the comics), the chain of command went to Prowl. Being someone's right hand man, and being second in command are two different things. In those first four episodes you can clearly see that Prowl, tactically makes decisions whereas Jazz doesn't. Remember when Hound purposes his hologram plan, he purposes it to Prowl.

Mind you, I should note that the cartoon was wishy washy at best, whereas the comic most definitely states Prowl is second in command. It seems the first three episodes suggest as much (especially with him being one of the main figures controlling the Ark, being next to Prime in many shots, etc.).

 

[Avangarde]

Not in the original bio cards, which state Jazz is Prime's right-hand man, and original cartoon miniseries, where Jazz is clearly seen playing the "Sarge" or XO role.

Odd, I could have sworn I often saw Prowl giving the orders for Prime. I think I can remember once when Jazz did it when he introduced most of the regular Autobots in the Pilot episode of the original cartoon.

 

[Avangarde]

Prowl WAS the second in command. That is correct. When Optimus was absent (in the comics), the chain of command went to Prowl. Being someone's right hand man, and being second in command are two different things. In those first four episodes you can clearly see that Prowl, tactically makes decisions whereas Jazz doesn't. Remember when Hound purposes his hologram plan, he purposes it to Prowl.

Well that settles it, if SB says its Prowl then it must be

 

[Marvin]

67% rt

20 good
10 bad

(the negative ones are a great read...)

 

[arty2]

San Francisco Chronicle's review (positive)

Destroy or save, robots respond

Peter Hartlaub, Chronicle Pop Culture Critic
Monday, July 2, 2007

"Transformers," the new movie about sentient alien robot vehicles that fight each other on Earth, is even more ridiculous than it sounds. In this film's reality, the nation's top scientist looks like a stripper and our defense secretary is Jon Voight. At one point, a giant robot urinates on John Turturro.

But it's definitely ridiculous in that good 1980s way, like an AC/DC concert after Brian Johnson took over as lead singer or any episode of "CHiPs" where Ponch goes to the roller disco. Sure, the action is over the top, but the people in charge seem completely aware that every scene is hokey. It's a triumph of lowbrow consistency.

And "Transformers" is way better than anyone could have expected from Michael Bay, the director who gave us "Armageddon" and "Pearl Harbor." The movie is still infected with Bay's usual -- flat characters, huge lapses in logic and Shaky-cam™ quick-edit directing style -- but it lacks the self-seriousness that doomed many of his previous big-budget efforts. Bay also got more than his money's worth with the visuals and sound, which provide a nonstop feast of coolness throughout the film.

Before trying to describe the plot (not a simple task), can we all agree that this summer-movie season is actually starting to rock? After stumbling out the gate with "Spider-Man 3," we've had an excellent run with "Knocked Up," "Live Free or Die Hard" and "Ratatouille." If we get one more excellent flick between "The Simpsons," "Harry Potter" and "Superbad," kids may have to put down their video games and start watching movies again.

"Transformers" is based on the mid-1980s cartoon by the same name, which itself was based on a line of toys. The movie is squarely aimed at older boys and men who are able to channel their inner 11-year-old. If you have an IQ higher than 115, better skip this one, or at least drink as much Keystone Light as possible before entering the theater.

The first 45 seconds or so aren't very promising, beginning with this narration: "Before time began, there was a cube. We know not where it comes from." Seriously, say that out loud a few times. Have you ever felt like a bigger dork?

But things get infinitely better when Shia LaBeouf appears as Sam, a smart-mouthed teen who discovers the Transformers with his would-be girlfriend Mikaela (Megan Fox).

Sam buys a beat-up Camaro that's really an Autobot named Bumblebee, the first of a dozen of the movie's Transformers. And the names get more idiotic with each appearance: Optimus Prime, Megatron, Starscream. The bad Transformers attack the United States, some good Transformers arrive and an impossibly attractive computer scientist (Rachael Taylor) tries in vain to warn the military of the impending attack. The hot ones are always right.

Along the way, Turturro does a really bad Al Pacino imitation in his government agent role, the fighting robots destroy a small city and we finally find out the real reason for the construction of the Hoover Dam. Hint: It's not to apportion the power of the Colorado River for utility usage in the Western states.

LaBeouf is a good choice to act out the lively script by Roberto Orci and Alex Kurtzman, who never forget that they're writing a movie about robots from outer space that can turn into helicopters and boom boxes. The rising young actor, who will play Indiana Jones' sidekick in next summer's big movie, has a geeky charm that recalls a young John Cusack or Patrick Dempsey.

"Transformers" is scripted with a nice self-referential wit. "I think there's a lot more than meets the eye to you," Sam says after he purchases Bumblebee, in a line taken from the "Transformers" cartoon theme song -- something you might not know if you were more into girls in the 1980s than playing with action figure man-machines that turned into ambulances.

Even more important is the special effects work from Industrial Light & Magic, which creates its most seamless visuals on a big budget picture since "Master & Commander: The Far Side of the World." The transforming effects are awesome, and the sound is equally fantastic -- especially when the Transformers start to speak. Imagine if James Earl Jones got a tracheotomy and started shouting commands through the public address system at Monster Park.

So what exactly is the problem with the movie? After some great battle and chase scenes early in the film, the Big Finish is confusing, mostly because of Bay's infuriating editing style. And while "Transformers" moves briskly, it's still way too long. At 144 minutes, the running time is in "Gandhi"/"The English Patient" territory, which is especially taxing when the plot turns don't stray far from the movie's Saturday-morning cartoon roots.

But there's never more than a few minutes without a good laugh or a gratuitous huge explosion, and the plot wisely avoids any moral messages, parallels with the 9/11 tragedy or anything else that might get in the way of the machine-on-machine carnage. "Transformers" is about blowing stuff up for the sake of blowing stuff up. Can you think of a better way to spend the Fourth of July?

-- Advisory: This film contains violence, sexual humor, adult language and full-frontal robot genitalia. (Despite the masculine voice, apparently Bumblebee is female.)

E-mail Peter Hartlaub at [email protected].

Bumblebee, female? WTF?

 

[CFlash]

Prowl WAS the second in command. That is correct. When Optimus was absent (in the comics), the chain of command went to Prowl. Being someone's right hand man, and being second in command are two different things. In those first four episodes you can clearly see that Prowl, tactically makes decisions whereas Jazz doesn't. Remember when Hound purposes his hologram plan, he purposes it to Prowl.

Yeah, I can see that. There is a difference between a Top Sarge and Field Commander/Lieutenants. Still Jazz's top sarge role was pretty freakin obvious in those first episodes.

 

[KenK]

Damn, I was hoping it wouldn't go below 70% on RT, but it's now at 67%.

 

[Avangarde]

That is so wrong.

 

[Marvin]

alot of the reviews that have been posted on this site haven't been account for yet by RT

ebet/moriarty for one

it'll take 3 more positives to put it at 70

and 19 more positives to put it at 80

(if there were no more negatives)
(however dumb they are)

 

[ShadowBoxing]

Yeah, I can see that. There is a difference between a Top Sarge and Field Commander/Lieutenants. Still Jazz's top sarge role was pretty freakin obvious in those first episodes.

Oh I'm with ya there. The cartoons pushed Jazz a LOT more than they pushed Prowl. He was like Cyclops in X3, didn't go out much nicer either

But Prowl did have one noteable second in command line in Ultimate Doom: ""I've got a plan...If you have the cast-iron manifolds to do it."

 

[Figs]

IMO, replacing the original story with a magic box is cheating the audience. Other things like making Jazz a lil' guy cannon fodder instead of the 2nd in command is cheating the audience. Why not make the hottest hot-rod in the movie a conceited prick?... like Sunstreaker was. That's cheating the audience. Why cliche everything up?

LOL, from what I hear Jazz is his second in command in the film. Once again, if it's "cheating" anyone its cheating you, B_F, and a few others. Why, because the general audience don't know much less care about the show with its messages about oil and energy. They changed energon into a shifting cube that gives life, that is not cheating the audience. Maybe it is if the entire audience for this movie are all hardcore G1 fans.

 

[blind_fury]

Yeah they are, and it's called Hermeneutics, a scientific method for content analysis. Chances are if you aren't using that you could be BSing something onto a text that isn't there. This is not to say everyone agrees, but it is to say if you wish to prove your viewpoint about a movie you have to use content analysis and PROVE your arguement. I get the impression that reviewer wasn't.

Awe c'mon. "The force" in star wars means something different to everyone. No one wants to be spoon fed what all art represents by a single authority. That's Orwellian and defeats the whole point of art which is to ignite someones imagination not imprison it.

You and your Hermeneutic cult came up with midoclorians just to ruin Star Wars for an entire generation of dreamers didn't you? Shame on you guys.

"But I, being poor, have only my dreams. I have spread my dreams under your feet. Tread softly because you tread on my dreams." - William Butler Yeats

BTW - I only used a quote from a classical artists because I know that's the only thing you can enjoy in life. Things that get a stamp of approval from high society. lolz. so sad.

 

[Marvin]

G1ers believe what they like to be all that matters and no matter how good something is in the adaptation...it fails if it's not the same
imo

they grade adaptations not as films but as translations...

supermans crest should have been bigger, like the comics..this film stinks

prime looks like a truck folded open...this film stinks

instead of energon, megatrons seeks a life given spark/cube
(which reads as much for immediate and self contained than searching for fuel...plus holds way more subtext than energon = fuel as well)

 

[Marvin]

and there we have it

3/3

Mori
Ebert
Devin (of chud fame)

all adamant bay haters
all sensible reviewers(whom i tend to agree with(at atlest 2/3 on every film)

I can rest easy now

 

[arty2]

Chud's 2nd review: Devin's Take (positive)

Review: Transformers (DEVIN'S TAKE)
07.02.07
By Devin Faraci

With Transformers Michael Bay has come very close to giving us the great summer blockbuster of this decade; while it never fully comes together as the ass-kicking, brain-annihilating joy we wanted, it does manage to stand head and shoulders over the rest of the stunted crop of Summer 07.

Transformers is probably the Rosetta Stone of Bay’s career. All of his favorite elements are here – military fetishism, vehicular fetishism, hot young chick fetishism, explosion fetishism, sweaty machismo and a brutal disregard for an interesting story. At the same time the film (at least the first half) bears the fingerprints of producer Steven Spielberg, as it deals with a nerdy young boy in suburbia whose life is changed with the introduction of a friendly, protective and yet completely and constantly vulnerable alien. For the first time a Michael Bay movie has something that resembles an emotional center that isn’t profoundly homoerotic.

Bay’s greatest triumph is the tone of the movie. He fully understands that he’s adapting a toy line here, and he knows how ridiculous the very concept is. Bay keeps the tone light during many of the human-centric moments, with the help of a great performance by Shia LaBeouf (you’re going to really understand why Spielberg is so in love with this kid after seeing the movie) and a bizarre and fun turn from John Turturro. The humans are kind of foolish for Bay, but he takes his robots and hardware deadly serious; while the Autobots have goofy and barely delineated personalities, Bay treats all the action scenes with intensity and gravity. Which, he understands, is how we treat his films, with eye-rolling during the talking and plot stuff and edge of our seat excitement during the chases, battles and explosions.

Where the movie really stumbles, though, is in the structure of Roberto Orci and Alex Kurtzman’s script. The film opens with a rip-roaring battle scene as one of the evil Decepticons comes upon an army base in Qatar, and then continues in fine form as the story expands to follow not just the survivors of that attack but also the higher-ups in the government, some hackers and Shia LaBeouf and his new car, which he doesn’t realize is a robot in disguise. But then the movie gets bogged down in a MacGuffin chase, as everyone is searching for a pair of glasses with map coordinates burnt into the lenses. And instead of using this time to build the stakes and introduce the multiple robots, Transformers just spins its wheels. The entire crew of Decepticons aren’t even brought in until the third act, and just in time for the massive climactic battle.

The biggest misstep, though, is in not making the robots different enough. Each of the Transformers should have a gimmick that makes them easily and quickly identifiable, but for some reason they all just seem to have generic weapons. There’s a robot who changes into a helicopter – why not have him use his rotors as swords or something? The final battle, while spectacular, gets to be a bit same-y as it wears on, and since none of the robots have gimmicks they got to be hard for me to tell apart.

What makes Transformers special is the quality of the effects. I soon stopped marveling over how good the robots looked because they quite simply looked so good that I forgot they weren’t real. This film is one of the few big budget effects films that I think really get the effects right, where you’re able to sit back and forget that you’re looking at a big mess of pixels on somebody’s computer and just appreciate the action for what it is. And what the action is is often amazing. While I would have liked to see more distinguishing elements in the battle scenes, I can’t complain when Optimus Prime and Megatron hurtle through an office building. Bay gives the action a sense of impressive scale, the kind of thing missing from the final battle in Pirates 3. The climactic fight in Transformers just feels huge and like it has impact. There’s a weight to the CGI characters and their actions that is often missing from films like this – not just in terms of destruction wrought (there’s tons of that, of course) – but quite literally weight in a gravitational sense. Too many CGI beings seem weightless, like they’ll blow away in a stiff wind, but the Transformers interact with their environments in a very solid way.

The Spielberg/Bay combo is a winning one, and I look forward to them reteaming on Transformers 2, despite this film leaving the characters in a ludicrous new status quo (they’re hiding out in secret on Earth after leveling half of downtown Los Angeles? Shia’s parents don’t even believe they exist? We’re supposed to buy that Megan Fox is going to put Shia’s penis in her mouth? (No offense, Shia)). Maybe next time around Bay can focus more on the robots and machines, which are obviously closer to his own cold, dead heart, and won’t have to spend half his running time on things that do not blow up. We’d all be happier.

7.5 out of 10

 

[Marvin]

whats funny tho is how devin and ebert almost always contradict each other