I always like to see the positive in movies. Whereas others bemoan the death of narrative cinema (which is nonsense) and complain about overreliance on CGI (which is overly simplistic) or whinge that sequels and remakes have squashed originality, I find plenty to enjoy in mainstream cinema and rarely leave the movie theatre disappointed. But I confess that Michael Bay’s latest entry in the Transformers franchise did that rarest of things – left me bored.
I’ve been a fan of Transformers since I was a child (although I was a bigger fan of M.A.S.K. and Centurions – can we get a big screen adaptation of one of those please), and this has made me sympathetic to the current film franchise. In fact, I loved 2007’s Transformers, which combined 80s nostalgia with contemporary aesthetics and delivered some of the most blistering action sequences of that year (which also included The Bourne Ultimatum, Spider-Man 3, Die Hard 4.0, Fantastic Four: Rise of the Silver Surfer and Pirates of the Caribbean: At World’s End). Since then, the franchise dipped with Revenge of the Fallen (2009) that not only featured racist stereotypes but pointless mysticism and a story that went all over the place before collapsing into incoherent noise (even the director described it as “crap”). Things got slightly better with Dark of the Moon (2011) that was at least more coherent but still suffered from too much in its final (hour long!) battle sequence. Age of Extinction continues the trend of ever-longer films (respectively, the four movies have lasted 144 minutes, 150 minutes, 154 minutes, 165 minutes), and demonstrates the law of diminishing returns as more proves to be less.
I went into Age of Extinction with low expectations because of poor to mediocre reviews, and often find that low expectations are surpassed. I wanted to enjoy the film and it certainly delivers on scale, with huge spaceships looming over Earth and the return of favourites Optimus Prime (voiced again by Peter Cullen) and Bumblebee. These are combined with some decent new Transformers including Hound (John Goodman) and Lockdown (Mark Ryan), although I could have done without the horrible Japanese stereotype Drift (Ken Watanabe). An alien robot with a personality out of human samurai culture, including swords and helmet, that speaks in haikus and calls his leader “Sensei”? Really? If anything, this was more offensive that Skids and Mudflaps in Revenge of the Fallen. The much-touted appearance of the Dinobots was pleasing when it arrived, but they only turned up in the last half hour by which time I’d stopped caring.
This was the main problem with Age of Extinction, as, despite my goodwill, the film failed to maintain my engagement. My attention wandered over its 165 minute running time, my reactions reduced to “Uh-huh”, “Uh-huh”, “Yes”, “Um-hum”, “How long have we been here?”, “Why did you do that?”, “Hmm”, “There’s still half an hour to go?!” There are some nice concepts, but again and again Ehren Kruger’s script and Michael Bay’s direction flog ideas to death, resurrect them and beat them to death again, or just abandon them. Early in the film, the Transformers are presented as illegal immigrants being pursued by nasty government agents, and this demonstrates that you can include political parallels in mainstream entertainment cinema. Similarly, the financial troubles of the Yaeger family, father Cade (Mark Wahlberg) and daughter Tessa (Nicola Peltz), allow for real world resonance. But these ideas are quickly abandoned in favour of over-designed alien robots that waste your time messing about. The bickering between the Autobots is tedious and serves no purpose, and the number of moving parts on the Transformers quickly becomes distracting. A robot that transforms into a vehicle is fine, but to have every little piece of them in constant motion actually becomes annoying. Worse, there is a bizarre attempt to humanise the robots and make them somehow biological, which includes blinking, breathing and bleeding. I don’t need Optimus Prime to leak green fluid to know he is injured – he has large holes in his body and has difficulty standing. That makes it pretty clear. This excess reaches its apex during the second act aboard Lockdown’s ship, which features some sort of robot guard dog-hyena type creatures. When those appeared all I could think was “Why, why, why?” Minions fair enough, but savage robot beasts is going way too far.
Repeatedly, the film suffers in comparison with 2007’s Transformers, which featured running battles that kept things moving. In Age of Extinction, battles occur, chases occur, and they go on and on and on and on. It is always very easy for a film critic, or indeed viewer, to say what would make the film better. It’s incredibly arrogant and presumptuous to assume that I know better than a professional filmmaker about how to do his job. But there is a glaring moment in Age of Extinction when the film could have moved into its climax. Instead, that is only the end of the second act and we have a torturous extension into China (which comes off as remarkably benevolent, clearly the producers had an eye on the lucrative Chinese market). I will not go so far as to say the film should have ended in Chicago (like the last one did), but I would have been happier if it had. I was already bored by the Chicago act, but that may have been because I knew there was more to come so the stakes were too low to excite me. More can be more – I will happily watch the three-hour cut of Avatar – but Transformers: Age of Extinction can best be described as a tedious, bloated, messy headache of a film.
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