Movie Review: Transformers – The Last Knight
Rated Rated PG-13 for violence and intense sequences of sci-fi action, language, and some innuendo
It’s hard to believe that 10 years ago, I was in the throes of doing something that I had sworn never to do again: I was anticipating the release of a Michael Bay film.
Ever since I played with Transformers toys as a kid, I like many, dreamed of seeing those crudely-animated cartoons become real-life ‘robots in disguise,’ and so too did Steven Spielberg. It was Steven who wanted Bay to direct his Dreamworks-produced Transformers film, and upon seeing Steven’s name as executive producer (and Industrial Light & Magic bringing these characters to life), I ended my ‘no Bay’ rule (temporarily). Since then, his Transformers films have been the only Bay-directed films I’ve see in theaters.
The 2007 film became the one film that I was willing to give Michael props on. However, in the 10 years since that film, the live-action series has ‘transformed’ into one built on foreign box-office, and Bay’s frat-boy hubris. And now, the fifth installment in the series has been unleashed on the world, with many wanting to know, if The Last Knight can redeem the series from the critical drubbing it took with 2014’s Age of Extinction.
Several years have passed since the events of the last film. In that time, the Autobots are still ‘illegal aliens,’ and Cade Yeager (Mark Wahlberg) has gone into hiding with them. More Transformers have also been coming to Earth recently, with many in the United States being captured and detained by the human-led, Transformers Reaction Force (aka the TRF).
As Cade attempts to help a number of Autobots on the run from the TRF, he soon finds himself rescuing a young orphan named Izabella (Isabela Moner), and encountering a human-sized automaton named Cogman (Jim Carter). Cogman soon leads Cade to England, where along with an Oxford professor named Vivian Wembley (Laura Haddock), is introduced to Sir Edmund Burton (Anthony Hopkins).
Burton has concluded, that something big is happening on Earth involving the Transformers, and that Cade and Vivian, are to play an integral part in these events.
With Age of Extinction, the live-action franchise was diverted in a whole new direction. The world of the Transformers began to open up a bit beyond just the scope of our planet, as we were given hints about the Autobot’s creators, as well as a legendary group of knights, that Optimus recruited to help in the film’s final battle.
With three writers (led by Akiva Goldsman) at the helm this time, The Last Knight faces a new foe, one that has recently caused great anguish for many a film fan in other series: world-building. Apparently, numerous humans have kept hidden their association with giant mechanical robots for centuries. They were there helping King Arthur, they were there to help bring down Hitler, and given shots of numerous famous persons in Sir Edmund Burton’s study, it’s assumed they helped out many, many more humans.
Much of this information is delivered through flashback, but also in a long, drawn-out exposition by Hopkin’s character. He’s basically our ‘Morpheus’ of the piece, telling our heroes what they need to know…but not too much, err we risk not being surprised when we find some things out.
Character-wise, there aren’t a whole lot to really root for. Almost everyone has an attitude, tries to ‘talk tough,’ and usually try to one-up the other. Probably the most level-headed character is the returning Colonel William Lennox (Josh Duhamel), who has become a reluctant member of the TRF, and seems to be the main guy leading a number of soldiers into action.
Cade and Lennox have had experience with Transformers, but every one of these films needs a human newcomer to their world, and that is Vivian Wembley, whose family history secretly connects her to our story. While being a piece to the film’s overall puzzle, she is sadly forced to banter back-and-forth with Cade, in a typical ‘animosity-equals-attraction’ storytelling form, that doesn’t seem uncommon for a Bay film.
Also adding some ‘girl-power’ to the film, is Isabela Moner, one of the most touted new members of the film’s human cast, who plays an orphaned girl in Chicago, who befriends and fixes outcast Autobots (though this skill is largely left up to our imagination, as the most we have is her spouting technical jargon). Much of the time however, her character’s personality feels like a cross between Scrappy-Doo (seriously, she tries to talk tough to Megatron!), and Ian Malcolm’s daughter Kelly from The Lost World: Jurassic Park. Of all the characters we’re introduced to, it feels like she could be excised out of the film entirely.
We also get a hefty number of Transformers this time around, but most of the time they feel like walk-on ‘set dressing,’ delivering some smart-@$$ lines, and then disappearing from a scene. The most time we get with them is mostly comprised of scenes with Bumblebee, and Burton’s assistant, Cogman. As for Optimus, he’s in the film, but it feels like he only gets about 10 minutes of screen-time.
Along with the task of ‘world-building,’ the bigger problem with Knight, is that even though it is one of the shorter Transformers films (coming in at around 2 1/2 hours!), it feels like it just drags on too long. In a strange way, from it’s first scenes, it feels like it is in a race to juggle it’s myriad subplots, AND hit it’s designated run-time, but it just ends up throwing too much at us, too fast. By the end, I was feeling as fatigued as when I came out of 2009’s Revenge of the Fallen. In fact, the film’s pacing and storytelling even feels like a distant cousin to that film (notable in the neverending battle/ticking-clock ending!).
Like the previous films, it tries to make us feel that the human story is the one we are really interested in, but many of us are just here for the Transformers. Industrial Light & Magic continues upping their game here, from in-camera transformations, to some massive set-pieces, that would have been impossible to animate and render a decade ago.
The film also attempts to stitch together all five films, notably in how we get a number of references (and ‘easter eggs’) to previous ones (and some of the different animated series based on the characters). However, there are still questions that they never give us the answers to (like how/when did Galvatron from the last film, become Megatron again?).
For those wanting to see some familiar faces, cool transformations, and speeding vehicles, you’ll get that here…but, you might find yourself having to impatiently sit through a lot of exposition that may surely go over the heads of the more casual filmgoer, as Paramount Pictures and Hasbro seem intent to think you’ll be eager to get sucked into a world that wishes to compete with the Marvel Cinematic Universe.
Final Grade: C- (Final Thoughts: “Transformers – The Last Knight,” comes off as Michael Bay’s send-off to a world he helped create 10 years ago. While we get plenty of Transformers action and some huge set-pieces, the film sadly gets bogged down by it’s own hubris. The film ends up walking a rather precarious tight-rope, trying to appease seasoned viewers, while acting as a first-step for newcomers into a larger world that will be expanded upon in future installments.)