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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Before you read on: Spoilers sweetie.
The Guardian series blog, written by Dan Martin, has been my first port of call as soon as the credits roll after every episode of this series. The story arc is so layered and baffling, with the hints and in jokes so carefully hidden, that even after a second viewing it’s difficult to pick up on everything. Thankfully the Guardian blog has been there whenever I’ve really struggled to get my head together and form some thoughts of my own. And the comments section is the perfect breeding ground for theories about where things are going.
This week’s mid-series finale gets a rather bruising verdict on the Guardian website. Very rarely do I disagree with it but this week I definitely do. I see where they’re coming from. It’s certainly true that not a lot happened despite the build up and the scale. And the cleric characters on Demon’s Run, particularly the token gay couple, the thin/fat marines, are chucked into the mix briefly and rather pointlessly. It was undoubtedly disappointing that the Cybermen were waggled before us in the pre titles sequence and that the Doctor’s dark side, whilst brilliant, did not plumb any seriously shocking new depths. But I think Dan Martin is missing the point of A Good Man Goes to War.
In many ways it matters little that the standalone story element was lacking this week because this was an epic conclusion to the first seven episodes. Rather than a war, this was the climactic battle. After the weaknesses of the flesh based double bill, I actually thought the story was improved to a much greater level and it was a joy to get Moffat’s writing back. The Doctor’s dialogue was so much wittier, cleverer and funnier.
Indeed the most surprising thing about A Good Man Goes to War was just how funny it was. The variety of the humour on show really added to the cinematic and epic feel. Besides the usual comedy deriving from Smith’s performance, for example in the scene where he’s trying to work out how Melody came to have Time Lord DNA, there are laughs from the other characters Moffat brings in as the Doctor’s allies.
The Sontaran nurse was absolute genius and perfectly in keeping with what the Doctor would do. When he tells Colonel Runaway to keep his back straight so as not to damage his posture, I laughed, during my first and second viewing. However it was only on my second viewing that I noticed a filthy lesbian tongue joke between the mysterious Silurian detective and her female sidekick, after the Silurian asks “why do you ever put up with me?”. I can see an adult spin-off show, with the potential to be far better than Torchwood, for those two. There was also a jolly fat blue thing that we’ve seen before, who was a delightfully wise presence.
With all the grim seriousness and concentration required to keep up with the secrets and twists of the story arc, the laughs were absolutely essential to making A Good Man Goes to War enjoyable. After the endless tension that has been coiling and tightening over the preceding weeks, I thought that this seventh episode actually had merits of its own, by leaving the ongoing secrets for the dramatic and emotional final ten minutes. Even if it didn’t go as far as it could’ve done, this episode was a fascinating exploration of the Doctor’s character.
We get to see the theatrical, arrogant side of the Doctor as he pulls off his genius takeover of the base. Matt Smith is in his element here and the impact of his performance is all the greater because Moffat kept him off the screen during the beginning as the team assembled, using the TARDIS alone. Moffat has previously said he wanted to put the “who” back into Doctor Who, and he’s done that with his confused, overlapping timelines and references to off screen adventures. But in A Good Man Goes to War he asks the question more directly and the Doctor ponders his own legacy, just as he did at the end of the last series when the monster sealed within the Pandorica turned out to be him. River Song then delivers some home truths. This episode may have been light on story but all of the key characters are explored in greater depth than before.
To River then. Finally we know who she is! And at last we have substantial answers to big questions looming since the beginning of the series. I was genuinely more satisfied by the big reveal than I thought I would be. But at the same time I am left craving more. I want to see the next episode. Moffat has, predictably, left an awful lot of questions unanswered. With a title like “Let’s Kill Hitler” my mind is already in a whirlwind of excited anticipation about the next episode itself too, let alone the answering of more secrets.
People tend to focus on the big question of this series: the Doctor’s death. But I am still waiting for the unresolved events of The Big Bang at the end of Series 5 to be explained. Who manipulated the TARDIS? Who organised the coalition of baddies to imprison the Doctor? Surely they must have some sort of connection to this year’s big enemies? Why are the clerics anti-Doctor now after working with him against the Weeping Angels in the last series? Who is Madame Kovarian?
So many questions and so many throwaway lines I can’t dwell on, partly because it would be useless and dull for you if I asked questions forever and also because I am falling asleep. Stevie Wonder performed in 1814 London. Just remembered that. But we mustn’t tell him!
See you in the Autumn.
EDIT: Blimey forgot the Headless Monks completely. And not because they were bad. A good idea but underdeveloped. Worth it just for having new monsters and that wonderful moment when the Doctor disarms all the clerics.
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So far we’ve had the surpise hit of Thor, along with the critically panned but blockbuster ruling The Hangover: Part 2 and Pirates of the Caribbean: On Stranger Tides. But which film will be left as the “fresh-ist” come the end of the summer rush for the cinema?
This week X-Men: First Class has landed with impossibly perfect critical reception, largely at least, with the average approval rating way into the 90% zone. I would wager that this will remain the best superhero smash of the season, at least according to the critics.
In terms of box office takings, nothing will surely be able to touch Harry Potter and the Deathly Hallows: Part 2? The much anticipated and long awaited conclusion to the series will be devoured greedily by millions. Whether or not it will be a hit with critics is far less clear cut. There’s a chance it will be too over the top, descending into one drawn out epic battle. Or it could finally nail it, getting the best out of the book for diehard fans and the best out of the cast for cinema lovers.
On Rotten Tomatoes, the only mainstream release I can see surpassing X-Men is JJ Abrams’ Super 8. Many of the reviews already emerging have criticisms of this film but most critics are likely to be seduced by the ambition of the project and tributes to 80s hits and Spielberg-esque filmmaking. This will be a story with the thrills a modern day blockbuster requires, as well as some old fashioned character development and emotional investment, fuelled in all probability, by nostalgia.
Total Film, one of the first key sites to review, gives it 5 stars: http://www.totalfilm.com/reviews/cinema/super-8
The dark horse of the summer, in terms of combining critical and audience support, may well be Jon Favreau’s Cowboys and Aliens.
What are you most looking forward to?
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Yet again I am late with my thoughts on the latest episode. I’d actually been putting off my standard pre-blog second viewing, for two reasons. On the one hand I was so blown away by the unexpected cliff hanger that I didn’t think I would be able to say much besides “what will happen next week?” in various different ways. On the other, I was disappointed with The Almost People.
I should qualify that statement by explaining that when it comes to Doctor Who, even a below par outing is a must see event I can always derive satisfaction from. A bad Doctor Who episode is merely relatively poor, compared to the greatness of other episodes, and still one of the best things on telly.
Why was I disappointed though? It’s difficult to pinpoint an exact reason. As the Guardian series blog points out, the shocking and momentous twist at the end would overshadow whatever came before it, no matter how good it was. But The Almost People was certainly not as good as it could have been and not as good as the promise set up in The Rebel Flesh. In fact there were some shockingly bad elements.
As I said in last week’s piece, Matthew Graham’s script was inconsistent. After watching The Almost People for a second time, I liked it a lot more and appreciated the extremely intricate and clever plotting. All of the character development ploughed into the Gangers, for Jimmy and his son, Cleaves and her blood clot, even the Doctors shoe swapping, made more sense once you knew that this was all part of the Doctor mulling over Amy’s impostor. The Doctor still gets the odd good line; with Matt Smith making most of the disappointing ones look good too with a varied and vibrant performance. Re-watch it and see the burden of worry about where the real Amy is on his face, way before we find out.
However Graham’s script also contained such truly awful lines as “who are the real monsters?” and “It will destroy them all”. And whilst you can see the idea behind the development of the Gangers far more clearly after a second viewing, it doesn’t always come off, with stereotypical northern Buzzer not convincing at all as he moans “I should have been a postman like me dad”. Then there’s the terrible acting, which I touched upon last week, even more noticeable this time. Cleaves and Jennifer in particular are woefully portrayed.
So despite a lot of potential, with intelligent moral dilemmas and frightening psychological horror, this double bill never really grabbed my attention completely. Until the climax that is. With the rather random and forced CGI monster out of the way and the ridiculous farewell hugs when the beast was supposedly breaking down the door, the Doctor becomes grave and ushers Amy and Rory into the TARDIS. He had a reason for his visit to the factory with the flesh. Amy has not been with them for some time.
But how long? She must surely have been there for the Doctor’s death at the beginning of the series? Did the swap take place during an adventure we saw on screen or another in between time? It would seem a bit of a cop out if it just happened somewhere along the line and we’re not given a precise explanation as to when.
There are endless other questions, and knowing Moffat, the majority will be left unanswered. We are promised that next week’s A Good Man Goes to War will see the unveiling of River Song’s true identity though. And the trailer shows us that the Cybermen are back, but once again, knowing Moffat, they’re unlikely to be the real masterminds behind it all. Who impregnated Amy? Was the Timelord child from the opening two parter hers? The Doctor shouts something about not using a baby as a weapon in the trailer, to mysterious eye patch midwife Madame Kovarian, so how exactly does she do that?
After this disappointing pair of episodes following the superb The Doctor’s Wife by Neil Gaiman, doubts resurface, for me at least, about trying to do too much with the story arc. In overlaying so many secrets, which are often tagged onto the ends of episodes, Moffat risks devaluing the standalone stories and turning the increasingly strained relationships within the TARDIS into soap opera. I’m sure that A Good Man Goes to War will be an improvement on The Almost People, if only in terms of the quality of the dialogue. But hopefully, with some real answers, Doctor Who will also begin to get back to just telling damn good stories every week too.
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