Transformers: The Last Knight

Transformers: The Last Knight

Posted on June 20, 2017 at 5:37 pm

D
Lowest Recommended Age: Middle School
MPAA Rating: Rated PG-13 for violence and intense sequences of sci-fi action, language, and some innuendo
Profanity: Strong language, many s-words and crude insults
Alcohol/ Drugs: None
Violence/ Scariness: Extended sci-fi/fantasy violence, fire, guns, explosions, chases, characters injured and killed, reference to suicide
Date Released to Theaters: June 21, 2017
Date Released to DVD: September 25, 2017
Copyright 2017 Paramount

It is time to stop the madness. I only wish this was called “Knight: The Last Transformers Movie.” I am as happy as anyone to see robots transforming into cars and cars transforming into robots and I freely admit to tearing up once when it appeared that Bumblebee might have been mortally wounded. I’m very fond of Sir Anthony Hopkins, and I’m also very fond of Mark Wahlberg. But this big, loud, dumb, dull, nonsensical dud of a movie is two and a half excruciating hours long.

Wahlberg returns as inventor-turned-renegade Autobots protector Cade Yeager. The government has set up a special branch of the military to get rid of all of the transformers, making no distinction between the honorable Autobots led by Optimus Prime and the evil Decepticons led by Megatron. We see in a prologue set in the time of King Arthur that the Transformers go back more than 1000 years, when Merlin, who turns out to have had no magical skills at all, was given the “weapon of ultimate power,” a staff that enabled Arthur and the Knights of the Round Table to win some battle with the help of a pretty impressive three-headed dragon. The staff and an amulet that is somehow connected to it will be the McGuffins that everyone will be looking for despite the fact that we never really find out what they can do.

Sure, the stunts are fun, and I especially enjoyed seeing Wahlberg leap from drone to drone like he was a stone skipping on a pond. But without a clear idea of the stakes there is no heft to them; it’s just pixels.

And the dialog — I can’t say which is worse, the painful attempts at banter (there’s an intended-to-be cute but isn’t at all riff on the homonyms “chaste” and “chased”), the exposition-heavy portentousness (“Where in Hell is your so-called magician?” “He will be here, Lancelot.” “Why do we tell ourselves these stories? We want to believe we can be heroes in our own lives.” “Do you seek redemption?” “Only a direct descendant of Merlin can wield this instrument of immense power!”), or the faux meaningful (“You are more important than you can possibly imagine”). If someone has to be spouting off idiotic explanations, though, at least most of it is in the beautifully husky Welsh voice of Sir Anthony (though his character’s ripping a page out of an antique library book is the most disturbingly violent act in the film).

Not much makes sense in “Transformers: The Last Night.” I’m not talking about why a robot would smoke a robot cigar-type sense. We expect that going in. But why would a robot want to eat a car?
And I’m talking about the basic elements that are necessary to connect to what is going on. How do you kill a Decepticon? Sometimes robots blow apart and sometimes they just come back together like in “Terminator 2.” How do we know how we are supposed to feel if we don’t know what the impact/import of a hit is? That all-powerful weapon? We never understand what it can do and it doesn’t seem very powerful after all. What is the point of Tony Hale spouting off about physics? I will note that one completely deranged moment was actually quite fun, when a C-3PO rip-off (acknowledged as such!) turns out to be the source of the dramatic organ music in one scene: “I was making the moment more epic.” A bit more deliriously loopy stuff like that would have been a step in the right direction.

What is the point of all the jokes about how a professor at Oxford should be looking for a husband? (Or a wife?) What is the deal with way too many daddy issues? Everyone in this movie seems to be a daughter looking for a daddy or a daddy looking for a daughter. As for this daughter, I’m just looking for a good summer stunts and explosions movie. Still looking.

Parents should know that this film includes extended sci-fi/fantasy peril and violence with chases, explosions, swords, guns, and monsters. Human and robot characters are injured and killed. Characters use strong and crude language and there is some dumb sexual humor.

Family discussion: Does it matter that Cade is “chosen?” Which Transformer is your favorite and why?

If you like this, try: the other “Transformers” movies and the television series

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3D Action/Adventure Based on a television show DVD/Blu-Ray IMAX movie review Movies -- format Series/Sequel

Interview: Nick Hamm on The Troubles and “The Journey”

Posted on June 19, 2017 at 10:00 am

Nick Hamm directed “The Journey,” an imagined story about real events. Two bitter enemies, Protestant Ian Paisley (played by Timothy Spall) and Catholic Martin McGuinness (played by Colm Meaney), the bitterest of enemies, unwilling even to sit in the same room, managed to do what no one else had done for decades — to find a way to create peace in Northern Ireland after years of bloody battles. In real life, it took years. In the movie, time is compressed into one ride to the airport, shared by the two men and listened in on by a small group of very anxious government officials. But the spirit and even the language of the film accurately conveys the enormity of the situation and the statesmanship of the two men who discovered that no religion or political dispute could justify the terrible losses of The Troubles. In an interview, Hamm talked about the film’s relevance to today’s hyper-partisan conflicts around the world.

How do you find a balance between the familiar characteristics of these very well-known men and creating real characters?

We wanted to make it as accurate as possible. Both were well known but Paisley was a pretty iconic figure in English political life, known quite widely. The conflict ran for 34 years in Ireland. McGuinness in the later years of his career should we say was very public you know so people knew who they were. It was incumbent on us not to imitate but to get under the skin of them and I think that’s what Tim and Colm really do. Tim one of those extraordinary actors who melds into the character and he becomes and his kind of extremely fascinating process that we all went through. Tim is a 5 foot 8 inch Englishman playing this six foot massive Irish guy. But when we first showed it in Ireland, people thought he was completely bang on with Paisley. We had to make this people real because what you’re watching is the nuance of human behavior. You’ve taken away the normal activities that politicians deal with on a daily basis. You’ve removed the ability to speak to the media, to have an assistant, to deal with Congress, to be in a public situation, and you put them in a private situation. You strip from them all of that then is about how they deal with the domesticity of that situation, as though we are in the back of the car with them.

It all feels sadly timely with the way we see sharp and angry political divisions around the world.

Spot on. That is what we are talking about here. We are talking about two people in real life who came together and reached out beyond their base, beyond their own constituency and risked sacrificing their own political life for the betterment of other people. That really happened and their relationship opened the door into the Northern Island peace process which really stopped people killing each other. This was not a fictionalized event. This happened. It was real and the bombing stopped, and in that sense it is a great political story. It is a unique political story.

All over we see a climate of intransigence, tribal loyalties and politicians just appealing to their base. The left is as bad as the right. There’s no condemnation of either side. They both are as bad. Both sides looks for constant reaffirmation from social media, constantly feeling that only they know the way forward, and that is the way of madness. And it’s weird how it’s grown. So the argument of the movie is: now more than ever you need leaders who can take their base and can take their constituents and can move and reach out across that divide and actually do something. We need politicians who can do that now.

So yes, it is a message but we didn’t start like that. We just started by telling this story to celebrate what they’d actually achieved. And it was in the most extreme circumstances. It takes a huge amount of magnanimity to be able to to have your political beliefs and then just understanding that other people have different perspectives. There’s no such thing as political absolute truth. Your version of a blue sky is different from my version of blue sky. There’s no society in the history of the world, in the history of civilization, in which absolute truth has survived and existed and people ascribe to it.

I went to see McGuinness before we started shooting and talked to him for a couple of hours. He talked about his relationships with the IRA and the British government and he talked about one particular journey that they took, because politicians from Northern Ireland were travelling together for years and then denying the fact that they were on the same plane, even getting off the plane at separate times so that people wouldn’t see them laughing together, wouldn’t see them talking together. Did you know at the peace talks neither party sat in the same room? I find that the most extraordinary thing. You had flown to Scotland, the British government is putting you up, you’re staying in the same hotel, but you wouldn’t even eat in the same bloody restaurant and you won’t meet in the damn room together. So when Paisley actually said he was going to fly back the British government put him on a plane and and McGuinness went with them and that was the first time that they actually started to acknowledge each other. McGuinness said that Paisley had never even acknowledged his existence before that. Two days later I talked to Paisley’s son, and he was on the plane, and he even took some film of it, but his story was completely different. And that was when I knew that no one has the truth entirely.

This week, the British Embassy in Washington is putting on a screening at the institute for Peace
I think a lot of Congressmen and Senators are coming and senators. I think it will be fascinating to see. We actually had it in the House of Commons and here we are debating a film about the nature of terror a hundred feet from wher a week later all the flowers would be piled up for the death of the policeman being stabbed and here I am in two days time going to Washington to show the movie to members of Congress and you had that terrible atrocity just happen there. It seems like a lot to ask of a movie but I hope somehow we can be a reminder of what is possible if people find that what they have in common is more important than their differences.

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Directors Interview

Father’s Day: Great Movie Dads

Posted on June 18, 2017 at 4:51 pm

Happy Father’s Day! And extra Father’s Day love to the two great dads in my life, my father and my husband.

These are some of my favorite movie dads.  Give the dad in your life an extra hug and ask who his favorite movie father is!

And don’t forget to get a FREE copy of my book, 50 Must-See Movies: Fathers today!

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