|
|
| |
 |
| |
| Released: |
2009 |
| |
|
| Genre: |
ACTION
COMIC STRIP
ADVENTURE
SCIENCE FICTION
SEQUEL
|
| |
|
| Origin: |
US |
| |
|
| Colour: |
C |
| |
|
| Length: |
149 |
|
| |
|
| |
|
|
| |
|
ANTI Reviews
|
|
|
| If you want to save yourself the ticket price, go into the kitchen, cue up a male choir singing the music of hell, and get a kid to start banging pots and pans together. Then close your eyes and use your imagination. |
|
| (Roger Ebert, Chicago Sun-Times) |
|
| Unlike the summer’s other big robot movie, Revenge Of The Fallen does have a personality, but it’s a frightfully detestable one. It celebrates all the wrong things with ferocious gusto, marking a new type of low for blockbusters. |
|
| (SciFiNow) |
|
| A terribly disappointing experience... Whilst I'm sure there are many who appreciate the Michael Bay oeuvre, you have to acknowledge that here is a director who's refused to develop his visual style since Bad Boys almost 15 years ago. So we get the usual camera circling a couple when they're kissing, slow-motion running away from an explosion, the gratuitous over-extended tracking shot just to prove he's not all about fast cuts and MTV-styling. It makes you long for a director with a real grasp of visual geography, and halfway through Fallen my mind drifted to the thought of a Kathryn Bigelow directed Transformers film and all the pleasures that would reap, however unlikely the match-up. |
|
| (Luke Savage, Den of Geek) |
|
| What Transformers is really about is the destruction of culture as anyone over 40 knows it and its replacement by culture in the form of violent video games, anthropomorphic cars, ear drum blasting, hero driven battles and billions of dollars in merchandising to pollute the planet. When the machines went to work on Paris early on in the film, the writing was on the wall. Sam finds a robot graveyard by bashing through a fresco in the caves of Petra, while John Turturro, a maverick former agent, helps save the day by arranging for missile to destroy the great pyramid of Giza. (In fairness, the bad machines were already working on that). The destruction of Petra, Wadi Rum, Salt, Giza and Luxor (which seem to be next door to one another in the film) was of no concern to writers Roberto Orci Alex Kurtzman (who wrote the 2007 script) and Ehren Kruger. There’s not even a line of dialogue regretting this military necessity. Nor did the destruction of the entire tourist industry of Jordan seem to bother the rulers of that country who happily granted the filmmakers a location permit plus the cooperation of the Jordanian Air Force. As in last month’s Star Trek this brave new world is populated by young people who become the new elite movers and shakers. Here, Sam assumes that role although still a teenager with a few days of higher education. At the end, Optimus Prime is no longer the colossal giant Sam once looked up to. ‘Boy, you returned for me’, Prime humbly acknowledges: ‘Thank you for saving my life.’ Sam, the eighteen-year-old saviour, responds as an apprentice who just needed the old guy to get out of the way to assume his rightful place: ‘Thank you for believing in me,’ Sam replies. This generation game shift is also reflected in Sam’s relationship with his forty- and fifty-something parents (Julie White and Kevin Dunn) who show up in Jordan, useless, helpless and clueless. Now it is Sam’s turn to protect his parents, too. |
|
|
| (Joyce Glasser, Mature Times) |
|
| I found it at once loud and boring, like watching paint dry while getting hit over the head with a frying pan... This film really is quite staggeringly uninteresting... The cherry on this cake of direness is the performance of Megan Fox, playing LaBoeuf’s sultry girlfriend - a performer so wooden she makes Jordan look like Liv Ullman. You’ll get better acting and superior entertainment at a monster truck rally. |
|
| (Peter Bradshaw, Guardian) |
|
| Human interest consists of LaBoeuf refereeing squabbles between jive-talking kitcars, and FHM-sponsored sex android Megan Fox attempting not to reveal her rue metallic colours through fake tan. For young males with pocket money to burn, this may be enough; for everybody else, this film is practically a free pass to go outside and play in the available sunshine. |
|
| (Mike McCahill, Sunday Telegraph) |
|
| When it comes to artistic aspirations, Bay has never exactly been up there with Bergman, but he did show a kind of ambition in Pearl Harbor and a certain elan in Armageddon, so can he really be happy churning out this inhuman rubbish? |
|
| (Edward Porter, Sunday Times) |
|
|
|
|
|
