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The third in Bay’s trilogy of Transformers films (though he
may be done, the film’s $1bn at the global box office ensures there will be
more films to come, of that we can be sure) Dark of the Moon has the definite
feel of someone making a grand statement. It is a colossal film, in scale and
technical accomplishment that dwarfs nearly all its blockbuster competition in
terms of ambition and scale of action. However it also suffers from many of the
issues that plague Bays films and his Transformers ones in particular, proof
that not all the necessary lessons were learned from Revenge of the Fallen, though
Moon is a distinct improvement on that bloated and excessive sequel.
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Set a few years after the events of the first two films Dark
of the Moon once again concerns itself with the daily life of Sam Witwicky
(Shia LeBouf), this time as he struggles to find a job and make his way out in
the world. We also discover that in the time between films he has been ditched
by his girlfriend (Megan Fox who was ousted from this outing) and is now seeing
the new piece of eye candy Carly Spencer (played by model Rosie
Huntington-Whiteley), as such it is difficult to build up much sympathy for Sam’s
initial frustration in the film at being unappreciated for his part in saving
the world and unable to find employment. I generally like LaBeouf as an actor,
even when others don’t, but at the start of the film he indulges in all his bad
habits, turning the motor-mouthed smart alec dial well up towards unlikeable.
.
In fact this trait seems to have been inherited by the entire human cast in the
film, John Malkovich, Ken Jeong, Alan Tudyk; the list of actors who I like and
who end up just grating in this film is disturbingly long. Some of this
obviously comes from Bay’s goofy sense of humour and insistence on everyone in
the film acting as comic relief, but it also stems from the fact that none of
them are playing real characters, they are all a bunch of ticks and quirks and
it soon frustrates. Remarkably John Turturro’s returning Agent Simmons is one
of the least bothersome characters, along with Frances McDormand’s uptight FBI
agent who seems to rise above the silliness that surrounds her. Still it seems
that aside from Sam, who is given something of a character arc in the film and
some decisions to make, there is very little offered by way of character in the
film which is a real shame.
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Plot wise the film is more straightforward then the second
film, if just as nonsensical, the discovery of a crashed Decepticon ship on the
moon leads to the revival of the war, culminating in the last half of the film
which solely focuses on the battle for Chicago. There is at least a clearer
focus on objectives and purpose here and whilst the film is still overlong it
moves at a decent pace and once it gets going is an easy watch, despite the
aforementioned issues with its characters. In fact once the Chicago scenes
start the film barely stops for breathe, delivering set piece after set piece
in some of the best sustained and constructed action of Bay’s career. The trouble
is that whilst the central objective is at least clear, there is little pacing
or rhythm to the action, it works in sections but doesn’t always gel. In some
scenes characters will be glimpsed and then vanish, part way through Bumblebee
is seen fighting alongside Sam, however in the next scene he has been captured and
is about to be executed. It’s a shame really as there are lots of great moments
that don’t quite work together as well as they should. It doesn’t help that the
logic of what the decepticons are trying to do at this stage is not only
unclear, but seemingly illogical that leaves the film without clear stakes.
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The
lack of this personal touch is a theme of much of Bay’s work and is one of the
reasons why he is a frustrating director for me personally. Unlike some I don’t
regard him as the devil incarnate (take a bow Mark Kermode) I think he is very
talented as an action filmmaker, and who has a good eye for a well staged and
ridiculous sequence, but lately more than ever he seems less and less interested
in the actual people that populate his films. This is a real problem as you
merely end up with the shell of a film, one that might seem fun and
entertaining, and contain lots of pretty visuals and explosions, but that lacks
(for want of a better word) soul. This summer I also watched Terrence Malick’s
Tree of Life, which seems the very antithesis of the Transformers movies, in
that it is nothing but soul, focused as it is on character and emotion, things
these films could really do with, even in the smallest amount.
.
As it is Dark of the Moon does contain some stunning
sequences (one set in a collapsing skyscraper being the stand out) along with
some of the best CGI yet committed to film, as well as a very impressive 3D
presentation (the first since Avatar that has really wowed me in relation to
enhancing the action on screen) but it feels all for nought. Our investment in
this world, in these people just isn’t there. Even the Transformers themselves
(which I have thus far neglected to mention, mainly because they aren’t
especially interesting either) whilst given more prominence than in the other
films, don’t come across as particularly likeable or nice. Bumblebee has always
been the sympathetic character, and so he remains, but Optimus Prime here
merely comes across as something of an arrogant and violent dictator, gleefully
slicing through his enemies in ways that struggle to reconcile with his
supposed commitment to peace. Though I did appreciate Leonard Nimoy’s addition
to the cast as Sentinel Prime for a period, adding some much needed gravitas to
the proceedings.
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Dark of the Moon is a pure sugar rush of a film, and ultimately
as unfulfilling as you find the now-empty pack of chocolate to be moments after
finishing. Looking back to the first Transformers film (which I still like as
the best of the three) there is a heart, an underlying theme of growing up and
getting your first car that still rings true. It’s hardly Malick but it’s
enough, and it’s what has been missed in the ever escalating spectacle ever
since.
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