Have we really seen the last of Michael Bay’s Transformers? The runaway success of the franchise, which has long raised its middle finger at our collective intelligence, would seem to suggest otherwise, but if Dark of the Moon is the final chapter of this inane trilogy, it is also the least insulting.
Its title an acknowledged nod to Pink Floyd’s classic 1972 album – expect Captain America: Born in the U.S.A. sometime soon – Moon is the most visually coherent entry in the Transformers saga, and for a merchandising juggernaut designed to appeal more to the eyes than the intellect, that’s a small but significant victory.
Edgar Wright, the English director of the exuberant romantic comedy Scott Pilgrim vs. the World, cites 2007’s Hot Fuzz, his Point Break-inspired follow-up to the 2004 zombie satire Shaun of the Dead, as the movie that afforded him the chance to film in his hometown of Wells, and to pay tribute to influences ranging from Agatha Christie to Michael Bay’s Bad Boys II.
If you’ve seen one Final Destination movie, you’ve seen them all. Actors drift in and out of the series, forever linking themselves to the mythology dreamed up a decade ago by screenwriter Jeffrey Reddick, but their on-screen fate remains as inevitable as death itself. The reaper is coming, and he doesn’t take no for an answer.
It is the dawn of a new decade, a time for reflection and self-improvement. In that spirit, I humbly submit my list of movie-related resolutions, complete with links. If you'd like to suggest any New Year's resolutions for me, yourself or anyone else, feel free to drop me a line.
Has Juno backlash lasted this long? Early returns on the Rotten Tomatoes chat boards suggest so, as hysterical fanboys take turns skewering screenwriter Diablo Cody’s Oscar-winning debut and predicting dire things indeed for her latest, the hugely entertaining horror-comedy Jennifer’s Body.
Bashing Juno? That’s so 2007. It’s true that Cody’s dialogue is sometimes gratingly self-satisfied, laced with glib pop-culture references and slang that sounds more scripted than organic. That hasn’t changed. But there is something approaching brilliance in Jennifer’s Body, her macabre tale of teenage friendship gone awry in the sleepy backwoods of Devil’s Creek, Minnesota.
Despite the adulation of her fans and the editors of heavy-breathing men’s magazines like Maxim who routinely rank her among the world’s most gorgeous starlets, Megan Fox doesn’t want to get by on looks alone. What she really wants is longevity.
“I was thrown into a movie that made $800 million,” she says, referring to Michael Bay’s Transformers. “That’s responsible for whatever level of success I’ve come to enjoy. It’s nice if people think I’m pretty, but the scary part about it is that I might not be given a chance to be much more than that."
How the toys of our youth lose their charm when thrust huge and noisy onto the screen. First, it was the Transformers, reduced to inelegant CGI monsters by Michael Bay’s effects crew. Next up? The real American heroes of G.I. Joe, whose back-stories are at least acknowledged by director Stephen Sommers (The Mummy, Van Helsing), but whose charisma is all but eclipsed by the movie’s raison d’être – namely, deafening explosions and expensive-looking set pieces.
With festival attendance topping 60,000 and ticket sales up from the last two years despite a sluggish economy, Frameline 33, the oldest and largest celebration of lesbian, gay, bisexual and transgender films and filmmakers in the world, reached its conclusion Sunday with the world premiere of Wendy Jo Carlton’s Hannah Free. Now, there’s only one thing left to do: announce the winners.
Fans of Michael Bay’s Transformers franchise can stop waiting to exhale: Thanks to more than 600 sellouts, including 274 for midnight screenings scheduled tonight, Revenge of the Fallen is already a box-office hit. Numbers like that have placed it among the top 25 pre-sellers of all time, but a nagging question remains: Is it any good?