Shia LaBeouf

‘Transformers: Revenge of the Fallen’ is Galaxies Away From its Predecessor

Ebeth — Wed, 24 Jun 2009 14:23:26 -0600

Rating: 1.5/5.0

CHICAGO – There are often many reasons sequels should not be made. “Transformers: Revenge of the Fallen” is one of them.

Seeking that “Allspark” exhilaration pumped into many of us from the original “Transformers,” moviegoers will flock to the sequel with anticipation. The first 20 minutes or so (skipping the ridiculous introduction) will feel like preparation for lift-off.

Mikaela Banes (Megan Fox, left) and Sam Witwicky (Shia LaBeouf, right) are once again caught up in a battle between the Autobots and Decepticons in “Transformers: Revenge of the Fallen.”
Photo credit: Jaimie Trueblood, DW Studios, Paramount Pictures

Sam (Shia LaBeouf) and Bumblebee (voice by Mark Ryan) reappear in two familiar scenes, Mr. and Mrs. Witwicky (Kevin Dunn and Julie White) return with their well-executed bicker-banter and Mikaela (Megan Fox) remains with all the assets she brings to the screen.

We’re introduced to our first three Decepticons and they’re all impressive. From a ferocious tiger-looking beast to a beautiful and all-too-eager temptress (Isabel Lucas), the Decepticons are assembling a vicious team.

Then, before the audience even leaves the ground, alarms sound, the foundation shakes and this invigorating shuttle ride is cancelled. The audience is herded into what feels like a two-hour Segway tour, as we’re led where we don’t want to be and forced to wear goofy helmets of boredom.

The Autobot Optimus Prime once again does battle with the Decepticons in “Transformers: Revenge of the Fallen.”
Photo credit: DW Studios, Paramount Pictures

The plot is – sigh – difficult to piece out of this rubble.

While Sam is packing to leave for college, he discovers that a piece of “The Cube” (which was thrust into Megatron’s chest at the end of the previous film) is lodged in his well-worn sweatshirt. Coming into contact with this fragment transfers its energy into his brain and soon he’s spewing codes and symbols.

From a satellite-like set-up, the leader of the Decepticons (known as “The Fallen”) is watching and waiting. The Fallen has been on a mission since the Stone Age to take over the planet Earth and destroy its sun in order to energize his troops.

The codes locked in Sam’s brain are of an ancient Decepticon language and contain the secret location of a machine The Fallen needs to complete his mission. This machine is activated by a hidden key known as the “Matrix of Leadership” and the Autobot team is soon in competition with the Decepticons to locate both of these things.

Megan Fox in “Transformers: Revenge of the Fallen.”
Photo credit: Jaimie Trueblood, DW Studios, Paramount Pictures

This is where the “crash and burn” begins.

Recognizing that the very act of watching a sci-fi movie requires one to believe beyond reality, a major failure of this film is that it’s unbelievable within the universe it creates.

As moviegoers, we agree to join in to this world where large “transforming” vehicles exist and protect our planet. No problem. But when, for example, a large garbage disposal of a monster appears and sucks up everything in its sight (including vans, trees, etc.) yet two of our small human heroes are still standing, the audience begins to feel just a bit of disgust.

Sam’s team meets up with a Decepticon convert who is able to “beam them up” and into Egypt within seconds. It takes the entire army of Decepticons who are hunting Sam, though, almost 48 hours to catch up with him.

Not only are the action sequences plenty ridiculous (and endless) but the script (written by Ehren Kruger, Roberto Orci and Alex Kurtzman) is riddled with disappointingly laughable lines. From references to Barack Obama to supposedly serious battle cries of “let’s win this like we always have with a coordinated military strategy,” one is tired simply from groaning by the end of the film.

The Autobot Optimus Prime returns to battle the Decepticons in “Transformers: Revenge of the Fallen”.
Photo credit: DW Studios, Paramount Pictures

Though Shia LaBeouf does what he can with the material he was given, Megan Fox’s performance will do little but get her a spot on Brett Michaels’ next season of “Rock of Love”. From the straddling of a motorcycle with her daisy-duke framed and exposed butt to the countless scenes in which Mikaela’s nothing more than a running, slow-motion, breast-bouncing bimbo, directors certainly took their cue from big-hair rock videos of the 1980s.

Those not offended by the obvious sexist tones in the film will surely feel offense from the blatant racism. New to the sequel are the Autobot “twins”: a pair of slang-slapping, “ghetto-fabulous” geek bots complete with gold “grills” and derived entirely from racial stigma. As if the target wasn’t obvious enough, when asked to translate symbols from their native language the twins exclaim (as though it should be obvious to those around them) “we can’t read!”.

Though not without its achievements in special effects, one knows there is a problem when something so colorful, complex and noisy leaves you slumped in your seat. Certain scenes – such as a Decepticon discussion on top of a skyscraper – are reminiscent of TV’s costumed “Power Rangers”. Most often, the creature at the end result of the “transformation” has too many parts to have come from its original form.

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Read our interview with the “Transformers: Revenge of the Fallen” visual effects supervisor.

Read more film reviews from critic Elizabeth Oppriecht.

Comically, if adults still seek to aggravate themselves by purchasing a ticket to this film, here’s a survival tip: make the film into a drinking game and down one can of beer per testicular reference. Since the writers clearly turned to AC/DC’s “Big Balls” for inspiration each time they were blocked, one will leave with a pleasant buzz.

Galaxies away from its predecessor, “Transformers: Revenge of the Fallen” does nothing but taint positive memories from the original film. Utterly embarrassing to the sci-fi genre, seek out some episodes of “The Jetsons” instead as even the cartooned “Rosie” is a more intriguing and complicated robot character.

“Transformers: Revenge of the Fallen,” which stars Shia LaBeouf, Megan Fox, Josh Duhamel, Rainn Wilson, John Turturro, the voice of Hugo Weaving, the voice of Peter Cullen and Tyrese Gibson, opened everywhere on June 24, 2009. The film is rated “PG-13” for intense sequences of sci-fi action violence, language, some crude and sexual material and brief drug material.

By ELIZABETH OPPRIECHT
HollywoodChicago.com
elizabeth@hollywoodchicago.com

After 19 Years, ‘Indiana Jones and the Kingdom of the Crystal Skull’ Phenomenally Exhumes Venerated Roots

HollywoodChicago.com — Wed, 21 May 2008 23:00:38 -0600

CHICAGO – After such a long respite from the beloved film progression, I was initially just as skittish about seeing Harrison Ford back in the Indy saddle as I was watching Sylvester Stallone back in the ring in “Rocky Balboa” in his 2006 comeback and then again in 2008 in his “Rambo” return.

Shia LaBeouf (left) and Harrison Ford in “Indiana Jones and the Kingdom of the Crystal Skull”.
Photo credit: Paramount Pictures

Ultimately, though, I had faith in director Steven Spielberg not to royally torpedo the monolithically anticipated “Indiana Jones and the Kingdom of the Crystal Skull,” which resurrects the Chicago-born, 65-year-old Harrison Ford as one of my favorite film characters of all time.

Spielberg delivers. Thank the heavens.

In grappling with Ford’s real-life age, David Koepp’s screenplay comically writes in subtle jabs to wrangle with the reality. Just like Stallone didn’t try to hide it in “Rocky Balboa” and he instead decided to honestly portray it, so did Ford’s character grow older.

Of course, “Indiana Jones and the Kingdom of the Crystal Skull” is still a major Hollywood product and Indiana Jones is still Indiana Jones. He still flings through the air with bird-like grace, whips all obstacles in his way with laser-like precision and is imbued with the film’s classic and campy “kapow!” sound effects. I love ‘em to pieces.

Shia LaBeouf (left) and Cate Blanchett in “Indiana Jones and the Kingdom of the Crystal Skull”.
Photo credit: Paramount Pictures

While the character Indiana Jones has had an unfortunate television run by way of Sean Patrick Flanery in his young form from 1992 all the way through 2007, Harrison Ford as the real Indiana Jones we’ve all been enamored with last roughed it up in a major Spielberg production in “Indiana Jones and the Last Crusade” in 1989.

Before that, it was five years earlier in “Indiana Jones and the Temple of Doom” in 1984 and three years earlier in “Raiders of the Lost Ark” in 1981. Yes, that’s three years between the first and second, five years between the second and third and 19 years between the third and the fourth.

Though Shia LaBeouf at first felt like he stuck out like a mutilated thumb (he’s most certainly no Jonathan Ke Quan, who played the lovable Asian sidekick Short Round in the second film), he was written in as much more than just a steadfast assistant.

He has his own attitude, his own 1950s get-up, his own fascination with knives and swords, his own quick-thinking and fast-talking demeanor and ultimately his own brewing plotline.

Harrison Ford in “Indiana Jones and the Kingdom of the Crystal Skull”.
Photo credit: Paramount Pictures

It’s a Goliath, too. Once we learn his true relation to Indiana Jones, we’re ultimately teased about his brewing ability to be Indy’s protégé and eventual replacement.

While such a storyline is to be appreciated and realistically understood based on the realities of the series and Ford’s age, I wasn’t entirely sold that LaBeouf nailed the part of the irascible Mutt Williams. He spent too much time combing his hairdo – yes, I know it was a sign of the times – and wasn’t as rugged as he should be to even nearly fit in Indy’s shoes.

There was storyline confusion there in his character as he flip-flopped between a slick greaser and a jungle-brawling Indy trainee. The jury here on LaBeouf is still out. While it was “Disturbia” in 2007 and then ultimately “Transformers” in 2007 that launched LaBeouf into the luminous limelight, I wouldn’t be heartbroken if he was replaced in a fifth iteration of the film.

While Karen Allen was excavated out of Hollywood hiding for a respectable performance ultimately designed to satisfy your sentimentality for the series, thank the heavens again for the always “A”-list performance from Cate Blanchett.

She makes her foray into the franchise as an menacing Russian who influentially disappears into her role. She’s spot on with her transformational image and accent and couldn’t have improved with hundreds additional takes.

Jim Broadbent from 2001’s “Moulin Rouge!” is a refreshingly unexpected casting decision, John Hurt entirely escapes into his character’s insanity and Ray Winstone (who played the seminal “Beowulf” in 2007) felt like he was merely passing screen time and cashing a fat check.

RELATED IMAGE GALLERY
View our full “Indiana Jones and the Kingdom of the Crystal Skull” image gallery.

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More film reviews from critic Adam Fendelman.

Aside from the interesting introduction of LaBeouf’s character, Blanchett’s villainous antagonizing and the return of Indy’s always entertaining adventures, history may most scratch its collective head about Koepp’s decision to scribe a plot that twists and turns down such an unexpected road.

As we learn the true meaning behind the crystal skulls and their application, this plot evolution takes us to an unexpectedly bizarre place. Talk about a thing that makes you go “hmmm”.

Indeed, the revelation is also unexpectedly bizarre in a way that makes your head go: “Um, am I still watching an Indiana Jones movie or did the projectionist splice in some other film as some sort of sick joke?”

But alas, this is the real Indiana Jones deal. Despite some dubious decisions and anomalous outcomes, the spirit remains and Hollywood this time has fantastically exhumed its venerated roots.

“Indiana Jones and the Kingdom of the Crystal Skull” opened everywhere on May 22, 2008.

By ADAM FENDELMAN
Editor-in-Chief
HollywoodChicago.com
adam@hollywoodchicago.com