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10 Reasons to see Transformers 3: Dark of the Moon


The latest Transformers movie has been critically panned from virtually every corner. Danny Leigh off that BBC show with Claudia Winkleface is even calling for strike action to boycott the movie in The Guardian and thus send a message to studio execs. But outside elite film critics there must still be a demand for Michael Bay’s franchise. And I bet those of you that are glass half full kind of people, are crying out for some positivity. Wail no more optimistic readers.

1)      Transformers 3: Dark of the Moon is based on a pretty sound and promising premise. It draws on one of the most historic moments in human civilization, the 1969 moon landing, to give a story about toys some narrative heft for the adults. The space race, we discover, was not just a competitive dash to the stars but a sprint for the wreckage of an Autobot ship, containing some alien tech with Godlike powers. But hang on the astronauts look round for a bit and then come home again rather uneventfully…

Aside from the idea there’s the title itself. I mean it’s pretty damn cool to make a film with the same name as a legendary Pink Floyd album! Oh wait, there’s a word missing. But they say Dark Side of the Moon in the movie? Maybe Michael Bay (or some lawyers) decided it was snappier to drop a word.

2)      Or perhaps no one wanted to limit this film to just the one “side”. There are at least three sides available because Transformers 3: Dark of the Moon is out in 3D. In fact with the juggernaut of 3D films slowing, its supporters in the industry are said to be pinning their hopes on Bay’s blockbuster because his trademark CGI pyrotechnics look stunning via the magic shades. I saw it in 2D because I wasn’t keen on paying more for a film I didn’t really want to endure. But let’s stick with the positives.

Transformers 2: Revenge of the Fallen makes a case for being one of the worst films of all time. I haven’t even seen it (mostly because of the sheer force of the derision) but you know a film is bad when its director and star use words like “shit” and “crap” just seconds after they are no longer contractually obliged to promote it. The original Transformers was surprisingly good though and critical consensus is that this is substantially better than the sequel. The downside for Michael “Boom-Bang-Bam” Bay is that most reviewers are merely saying Transformers 3 is better to illustrate how atrociously bad the second instalment was.

3)      Damn I said I would stick with the positives didn’t I? Well there are always two big ticks alongside Michael Bay’s name. He is consistent and he always provides plenty of bangs for your buck. I saw the first Transformers by accident all those years ago and I was won over primarily by Bay’s competent handling of stuff frequently exploding into thousands of shards of glass and chunks of concrete. In Transformers 3, if you stick with it for over an hour, you get to see Chicago flattened. In one scene the human characters slide through a skyscraper as it collapses. Then they slide through it again. Then more stuff blows up. Then some more. Then there’s some slow mo. And a bit more. Something else goes bang. You lose interest.

4)      Alright there are some negatives. Like the constantly annoying and yelping Shia LaBeouf.

5)      But surely these are more than outweighed by the presence of Rosie Huntington-Whiteley? It was a big ask to find someone to replace Megan Fox’s assets but British lingerie model Rosie was named FHM’s sexiest woman of 2011. Physically she easily fills the implausibly hot girlfriend role. Bay knows he’s working with a thing of beauty, panning the camera down her body in the middle of action sequences.

Unfortunately her performance has been chewed, swallowed, digested and vomited onto a pile of steaming fresh elephant dung by every single critic. Surprisingly I thought her acting was worse when she was simply required to scream. We see her getting dressed from behind briefly at one point and in a couple of revealing dresses but not sufficiently unclothed to warrant the price of admission. Having said that Bay does his best to reduce every single female extra to eye candy by ordering them to strut about or look scared in something short.

6)      On the plus side! John Malkovich appears in what might be a mildly amusing but pointless cameo in a film that was at least an hour shorter.

7)      Ken Jeong also shows up as essentially his character from The Hangover, minus any of the sometimes funny rudeness. He is vital to one of the many baffling and needless sub plots. Which leads me to reason number eight…

8)      A glorious two and a half hour runtime may make any of the microscopically good things in this film meaningless but it has its beneficial effects as a sedative. You’ll be capable of falling into a sleep so deep that a succession of nuclear wars wouldn’t wake you after Bay has left you numbed and extremely bored by repetitive scenes of endless destruction.

9)      Actually there aren’t even 10 fake reasons to see it.

I have completely failed to live up to my nickname of Optimist Prime…

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Blu-Ray Review: Buried


Being buried alive is up there with drowning and burning to death on the commonly accepted list of the worst ways to snuff it. Cinema has a long history of exploring and exploiting these fears for our viewing pleasure and pain. Certainly there are countless films about infernos or choking on salt water. There are classic scenes in tunnels with dust and dirt threatening to submerge our heroes. But never before has a film been quite so confined beneath the earth as Buried is.

Buried opens, after a slick titles sequence that gives the impression of descending through the soil, with a completely pitch black screen, affording me an opportunity to discover and enjoy high definition darkness. Paul Conroy, a civilian truck driver in Iraq, wakes up in a box below ground before our eyes in this nothingness. This is Buried’s only location, a wooden coffin. It therefore might not seem the best film to enjoy on Blu-Ray, as there are no luscious visuals and locales to gasp in wonder at. The ever so slightly sharper picture and sound quality does truly allow you to appreciate the astounding technical achievement of Buried though.

The textures of the sand and the splintered wood feel real enough to touch at such intimate proximity. Conroy’s face, along with all the varied expressions it shifts through, looks incredibly lifelike. The excellent soundtrack, along with Conroy’s rasping breathing, is crisp and clear. The flame from a lighter looks vivid and dazzling in the sparseness of the coffin.

And the additional special features that come with a Blu-Ray disc are worth a look for once. As Ryan Reynolds, who plays Conroy, says in an interview, realising such a concept from a good script was a feat of engineering as well as filmmaking. Director Rodrigo Cortes explains that seven different coffins, each used for different types of shots, were used to make the 90 minutes or so of film. The variety of camera angles and techniques is incredibly impressive, with Reynolds highlighting that unlike a lot of films the same shot was scarcely used twice here. Most of the shots are entirely realistic, placing you firmly in Conroy’s shoes, with just a couple of exceptions, zooming out and away from him to really emphasise his isolation and loneliness.

One of the crew members interviewed says that if Hitchcock were alive today this is the sort of thing he’d be doing. There is undoubtedly the sense that new ground is being broken, in terms of storytelling and filmmaking. The majority of mainstream releases these days are miles away from the level of audience immersion on show in Buried. Even on an ordinary TV screen in a comfortable living room you feel Conroy’s claustrophobia and live his rollercoaster of emotions. This is as much down to Reynolds’ captivating performance as the fine detail and execution of the production team.

Reynolds copes with everything the script asks of him with very little to work with. He takes us from panic to paranoia, from despair to determination and back again. He deals equally well with anger and heartbreak, often conveying an emotion simply through breathing or a look in his eye. He is helped by some good voice performances by those he interacts with on the phone, his one real lifeline, its battery constantly withering away. Particularly good is Brit hostage negotiator Dan Brenner, played by Robert Paterson, who is convincingly professional and genuinely sympathetic. He managed to calm me down as well as Conroy.

Somehow Buried contains what I can only describe as an action scene, in which both the acting of Reynolds and the inventive wizardry of the director, combine with unbelievable effect. Without giving too much away, there is a snake involved. I was literally on the edge of my seat. And the reason this scene was so scary, gripping and exciting, was how well established the character and situation is beforehand.

As well as inexplicably pulling off a believable and enthralling thriller in a box, Cortes’ directing and Chris Sparling’s script also manages some thought provoking dialogue on major issues of our time. The way these topics are explored is seamlessly part of the action and not forced. During the course of Conroy’s phone conversations we explore not just the depths of his character, but the limits and immorality of bureaucracy and the subjective nature of the word “terrorist”. Buried therefore also has political credentials, without ever leaning too far to one side of the debate.

 With similar limitations to Danny Boyle’s 127 Hours, Buried is a film reliant on its lead actor. Whilst James Franco was good, Reynolds is even better. In fact Buried is better full stop. For the moving climax alone, that will have you unable to look away through confused tears, it is worth watching. Buried delivers a master class in acting, cinematography, dialogue and political comment. It is a unique and bruising ride of a story. And a must see film experience.