![]() It’s a bit of a challenge to capture just how retrograde the film is on this score. Huntington-Whitely plays Carly, the new squeeze of returning hero Sam Witwicky (LaBeouf), which means that her narrative functions-apart from a scene near the end, in which she goads a Decepticon by calling it a “bitch”-alternate between being ogled and being held hostage. This is, after all, the man who fired previous franchise eye candy Megan Fox for being insufficiently sexy, which is a bit like firing water for being insufficiently wet. But Bay’s lens leers so emphatically, almost pornographically, that this opening can’t help but come across as a statement of his philosophy of gender. Now, it is true that Huntington-Whitely has a fine bottom, as one might expect from a veteran Broadway character actress former Victoria’s Secret model. This is the second shot as well the third, opting for expository variety, shifts to the front and works its way up her torso. ![]() Following a Kennedy-era prologue, the first shot of the movie is a closeup of the barely-pantied bottom of Rosie Huntington-Whitely as she ascends a flight of stairs. As its title hints, perhaps unwittingly, Dark of the Moon is a journey into the angry, adolescent id of director Michael Bay. Yet despite these manifest improvements, there is something so sour and unpleasant about the new film that it left me almost nostalgic for the innocent idiocies of its predecessor. The movie even manages, in stark contrast to such summer duds as Green Lantern and the last Pirates of the Caribbean movie, to make effective use of 3D. ![]() The special effects are more impressive, and the action considerably more intense. ![]() (Apart from length, that is: it clocks in at a brutal 157 minutes.) The plot-which posits that the midcentury U.S.-Russian “space race” was actually an effort to recover lost Autobot artifacts from the dark side of the moon-is much sharper. ( And did.) The latest installment in the epic tale of good Autobots, bad Decepticons, and Shia LaBeouf, Transformers: Dark of the Moon, improves on its predecessor in almost every obvious way. The second Transformers movie, Revenge of the Fallen, was, as any viewer who failed to repress the experience will recall, astonishingly awful: a script of unsurpassed inanity, a pair of crude, jive-talking robots, a running time best measured in geologic terms-I could go on. ![]()
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