Few directors know how to throw a farewell party the way Michael Bay does. With this, the supposed final installment of the globe conquering Transformers series, he proves once again that there are few that truly understand the movie-going public as well as he does. Dark of the Moon is leaps and bounds above Revenge of the Fallen, narrowing the scope of the film while taking advantage of 3D and amplifying its excess and sonic poundage. Rarely will a film ever be this loud and unforgiving on the human senses, an audio/visual hammer with the subtlety of a brick to the skull. But that is what makes this film so ridiculously brilliant; it is what we, as a global movie-going audience, wants. If you don’t believe a word of the previous sentence, feel free to check the box office in a few days time.
Dark of the Moon reaches far deeper into the Transformers mythology bringing the world of Cybertron closer to Earth than ever before. It back tracks to the human space race of the 1960s to set the tone of the film, giving Neil Armstrong and Buzz Aldrin’s (who makes a cameo appearance) moon landing a more sinister undertone. Humanity is once again at peril as it stands between the Autobots and Decepticons’ never ending galactic battle for supremacy. Yet in Dark of the Moon, we find that there may be more than meets the eye when it comes to the role of humans in the historical context of this great fight. It almost circumvents the plot of Revenge of the Fallen, but this progression of the Transformers history seems much better (or maybe Revenge just sucked so much that they hoped to simply sweep it under the rug) as soon as you throw out any sense of plausibility (but what’s plausible about Transformers anyway?)
Shia LaBeouf continues to do a lot of running and yelling and kicking as Sam, struggling for a job after the events of the first two movies, stumbles into employment thanks to his new squeeze, the rather well shot (God bless Michael Bay and the way he shoots lingerie models) Rosie Huntington-Whitely. And for all the hullabaloo, she is genuinely better than Megan Fox, a far less irritating caricature and a better actress. We are given some genuinely funny moments as his struggles for employment crosses paths with the likes of a slightly underused John Malkovich, an as-expected Ken Jeong and Alan Tudyk. The cast in general (which includes Frances McDormand and Patrick Dempsey) is far more rounded, having jettisoned the annoying Ramon Rodriguez and keeping the role of Sam’s parents to a minimum, which gives the film a solid human presence amongst the sentient destruction. Most of them do the best they can with the lines they’re fed, that while isn’t quite Aaron Sorkin, is better than “I’ll drive, you shoot”.
Writer Ehren Kruger does the film its biggest service by limiting the film’s landscape to but a few destinations. While we traveled to the far reaches of the Earth in Revenge of the Fallen, we are most restricted to only a few (setting the film’s final set piece within the city confines of Chicago), avoiding the travel fatigue we got in the second.
With these parts in place, Michael Bay gives the film its much-needed finality. It is unlikely that another film in our lifetime will showcase the kind of visual magnificence displayed in Dark of the Moon (unless Bay signs on for Transformers 4). A highway chase scene featuring Decepticons gunning after the Autobots is particularly mesmerizing; turning the frenzied blur we’ve seen in the previous two films into a refined, almost beautiful piece of futuristic roller derby. And there are nuances and subtleties that lacked before- the perfectly timed musical accompaniment to a scene for instance (when Sam is driving into Chicago)- that adds a rare moment of tranquility. For fans of the history, Leonard Nimoy returns to voice Sentinel Prime (the first time Nimoy returns to this universe since he voiced Galvatron in the original animated film), while the likes of Shockwave, with his newly added aura of destruction, will surely please diehards.
Critics enjoy savaging Michael Bay because he doesn’t bring the same kind of sensibilities to the art of filmmaking a Godard, a Fellini or an Orson Welles does. Yet they all had their trademarks that earned them their distinction; Godard with his Nouvelle Vague jump cuts, Fellini with his elegant imagery and Welles with his all-around innovation. And Bay, like them, has his cannon for generation now: explosive, A.D.D. ridden, sex-infused, glossy storytelling of excess proportions. You cannot compare Dark of the Moon to À bout de soufflé, but you can compare their connection to the cultural and global landscape of their time. As much as critics will pound and holler about the merits of Terrence Malick’s latest film and how we should go see that instead of Rosie Huntington-Whitely in her underwear, their gracious calls for cinematic justice will fall on deaf ears. Why? Because Michael Bay and Transformers: Dark of the Moon is the way we are now (and really, what the hell do you want from a movie about giant robots? Optimus Prime wandering the streets of Paris smoking cigarettes?) The collective applause by the audience through the film (and at its conclusion) will attest to that.
Transformers: Dark of the Moon isn’t perfect, and its conclusion rather abrupt, but as a send-off for this franchise (for now?), you couldn’t possibly ask for a bigger, more ridiculously explosive final chapter.
TRANSFORMERS: DARK OF THE MOON
Directed by: Michael Bay
Written by: Ehren Kruger
Cast: Shia LaBeouf, Rosie Huntington-Whitely, Josh Duhammel, Tyrese Gibson, John Malkovich, Frances McDormand, Patrick Dempsey