The Rock (1996, Michael Bay)

I’m loathe to say it, but The Rock isn’t bad. Its good qualities are questionable, but it’s not bad. Besides some of the acting, what’s best about the film is how it fuses the action and adventure genres. Bay does his action stuff in traditional adventure settings—there’s a setting straight out of Indiana Jones and the Temple of Doom but Bay plays it as action and it works.

What doesn’t work—I’ll finish with what does to be positive—is, first and foremost, the writing. Most of the one-liners flop. There are occasional decent moments, like when Sean Connery’s character shows his army experience, but there are also the terrible scenes with Ed Harris. Every one of them is awful. Harris tries, but there’s nothing he can do. His voice cracks during one tense scene and it sort of sums up his entire attempt at essaying the character. He just can’t sell it.

As the lead, Nicolas Cage has some problems. He’s appealing in his first Hollywood manic role, but not quite good. But he’s irreplaceable.

Oh, I forgot the other bad stuff—some of the acting is terrible. Gregory Sporleder, Tony Todd and Bokeem Woodbine give awful performances.

Then there’s the score. Nick Glennie-Smith and Hans Zimmer make some terrible music together.

Great supporting work from David Morse, John Spencer and Stuart Wilson. Bay knows how to fill a room with character actors and make it work.

It could be better, but also a lot worse.

1/4

CREDITS

Directed by Michael Bay; screenplay by David Weisberg, Douglas Cook and Mark Rosner, based on a story by Weisberg and Cook; director of photography, John Schwartzman; edited by Richard Francis-Bruce; music by Nick Glennie-Smith and Hans Zimmer; production designer, Michael White; produced by Don Simpson and Jerry Bruckheimer; released by Hollywood Pictures.

Starring Sean Connery (John Patrick Mason), Nicolas Cage (Dr. Stanley Goodspeed), Ed Harris (Brigadier General Francis X. Hummel), John Spencer (FBI Director James Womack), David Morse (Major Tom Baxter), William Forsythe (Special Agent Ernest Paxton), Stuart Wilson (General Al Kramer), Michael Biehn (Commander Charles Anderson), Vanessa Marcil (Carla Pestalozzi), Claire Forlani (Jade Angelou), John C. McGinley (Marine Captain Hendrix), Gregory Sporleder (Captain Frye), Tony Todd (Captain Darrow), Bokeem Woodbine (Sergeant Crisp), Raymond Cruz (Sergeant Rojas), John Laughlin (General Peterson), and Philip Baker Hall (Chief Justice).


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Bad Boys (1995, Michael Bay)

Here’s an idea… take a script from the guy who wrote Midnight Run–I imagine that film had some rewrites from Martin Brest, but George Gallo did come up with it–and turn it into a complete mess.

What’s interesting about Bad Boys is what isn’t wrong with it… what nearly works in it….

Michael Bay doesn’t do a bad job at all here. He can direct scenes with good actors. He can’t direct scenes with bad actors giving bad performances–most awkward are his scenes with Martin Lawrence, because Lawrence is really funny but essentially giving a sitcom performance. Bay doesn’t know how to direct him and so Lawrence’s lines fail more often than they should.

Will Smith is another story. Will Smith’s performance is unbearably bad. The film would have been better suited teaming Lawrence with a mannequin.

The supporting cast has some real highlights too, which is strange. Not Marg Helgenberger, who’s so laughably awful she and Smith should have gone off into another movie and left Lawrence with the otherwise capable supporting cast. (Except Karen Alexander, she’s terrible too).

First, Joe Pantoliano. I’m not sure if he ever did the yelling police captain in anything else, but he’s perfect for it. Then there’s Nestor Serrano and Julio Oscar Mechoso, both great. Michael Imperioli, great.

Téa Leoni doesn’t work. Her performance isn’t bad… it’s just clear, she really doesn’t belong here.

I’m not surprised Bad Boys is dreadful, I’m shocked there’s so much good stuff about it.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by Michael Bay; screenplay by Michael Barrie, Jim Mulholland and Doug Richardson, based on a story by George Gallo; director of photography, Howard Atherton; edited by Christian Wagner; music by Mark Mancina; produced by Jerry Bruckheimer and Don Simpson; released by Columbia Pictures.

Starring Martin Lawrence (Det. Marcus Burnett), Will Smith (Det. Mike Lowrey), Téa Leoni (Julie Mott), Tchéky Karyo (Fouchet), Joe Pantoliano (Captain Howard), Emmanuel Xuereb (Eddie Dominguez), Nestor Serrano (Detective Sanchez), Julio Oscar Mechoso (Detective Ruiz), Theresa Randle (Theresa Burnett), John Salley (Fletcher), Marg Helgenberger (Capt. Alison Sinclair) and Michael Imperioli (Jojo).


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Transformers: Revenge of the Fallen (2009, Michael Bay)

I thought I could watch Transformers 2, or whatever it’s called, but I can’t. I made it through the first one, maybe because it followed some kind of traditional narrative structure, but the second one is unbearable. It’s just incompetently told. I’ll read plot details and they seem interesting, but there’s no way I’d ever make it to see them.

Bay’s got to be the most worthless director working today. His composition is so spectacular, his editing, while frantic, at least has a rhythm his imitators don’t have, but he apparently likes the dumbest scripts and has the dumbest ideas (his director’s cut to Pearl Harbor being a testament to his needing a firm producer).

The CG is great, but who cares? As such a long-time opponent of CG, it’s interesting I’ve gotten to the point where I can respect it, but it’s gotten so blasé it’s ineffective. Sure, the Transformers transforming is lifelike and all, but there’s no wonderment to it. Bay shoots the thing like the Transformers are the scale the viewer is supposed to be accustomed to, not the people affected by the action. It makes it silly and cartoonish.

The writing is particularly awful, whether the dialogue or the plotting.

The voice acting is bad. Peter Cullen apparently hasn’t done any real acting in thirty years–sorry, cartoons don’t count–and it sounds idiotic. The trailer guy would have been better. It doesn’t help the audio mix of the voice acting is crap.

It sucks.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by Michael Bay; written by Ehren Kruger, Roberto Orci and Alex Kurtzman; director of photography, Ben Seresin; edited by Roger Barton, Tom Muldoon, Joel Negron and Paul Rubell; music by Steve Jablonsky; production designer, Nigel Phelps; produced by Ian Bryce, Tom DeSanto, Lorenzo di Bonaventura and Don Murphy; released by Dreamworks Pictures and Paramount Pictures.

Starring Shia LaBeouf (Sam Witwicky), Megan Fox (Mikaela Banes), Josh Duhamel (Major Lennox), Tyrese Gibson (USAF Master Sergeant Epps), John Turturro (Agent Simmons), Ramon Rodriguez (Leo Spitz), Kevin Dunn (Ron Witwicky), Julie White (Judy Witwicky), Isabel Lucas (Alice), John Benjamin Hickey (Galloway), Matthew Marsden (Graham), Rainn Wilson (Professor Colan), Peter Cullen (Optimus Prime) and Hugo Weaving (Megatron).


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The Island (2005, Michael Bay)

I know The Island bombed but I can’t believe anyone thought it wouldn’t. It’s incredible such a large budget was given essentially to a future movie–it takes place in 2015 or something, it’s never clear, but there’s a lot of future stuff–and I had no idea it was a future movie. Bay’s got future cars and future trains and future motorcycles and he’s the worst person to do a future movie, because he’s incapable of wonderment. The Island plays out like Freejack on overdrive.

The plot is ripe for all sorts of metaphors–this island paradise, whatever–and the film ignores all of them. Instead it’s a wholly competent, completely unexciting summer action movie. Scarlett Johansson plays a twit well and Ewan McGregor’s a solid lead in a vapid role–it’d have been really funny if the pair had been cloned from their actors, who they then had to duke it out with.

Djimon Hounsou is wasted, as he always is, cast as the tough black guy with the accent. Sean Bean’s good as the villain, even if his dialogue is crappy. Steve Buscemi’s awesome in a small role; he really has fun, maybe more than anyone else, just because he’s not pretending about what kind of movie he’s making.

It’s really cool looking–the future designs and all–and Bay does a decent job. But when the music (a good score from Steve Jablonsky) comes up, it doesn’t matter what the movie is–Bay’s directing another commercial.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by Michael Bay; screenplay by Caspian Tredwell-Owen, Alex Kurtzman and Roberto Orci, based on a story by Tredwell-Owen; director of photography, Mauro Fiore; edited by Paul Rubell and Christian Wagner; music by Steve Jablonsky; production designer, Nigel Phelps; produced by Walter F. Parkes, Bay and Ian Bryce; released by DreamWorks Pictures.

Starring Ewan McGregor (Lincoln Six Echo), Scarlett Johansson (Jordan Two Delta), Djimon Hounsou (Albert Laurent), Sean Bean (Merrick), Steve Buscemi (McCord), Michael Clarke Duncan (Starkweather) and Ethan Phillips (Jones Echo Three).


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Horsemen (2009, Jonas Åkerlund)

Horsemen went direct-to-video with Dennis Quaid and Zhang Ziyi. It’s surprising because it’s a Platinum Dunes production–the guys who remade Friday the 13th; I thought Michael Bay would have a firmer distribution deal.

The director, Jonas Åkerlund, is fine. With a better script, he might have made a better movie.

Horsemen would have been more successful as a TV pilot. It’s decently paced at its ninety minutes. Things start to fall apart halfway through as the dynamic changes occur. Quaid and Zhang–with Zhang as Hannibal Lecter–facing off is a disaster. Zhang’s terrible once the character changes.

The script’s incompetent but it does pace the film with the scenes–almost–in vignettes. There’s a good, short sequence with Patrick Fugit. Fugit’s good. Paul Dooley shows up for a little while and he and Quaid have a Breaking Away reunion (though I can’t remember if they had any scenes together in that film).

Peter Stormare’s awful enough to make one forget he’s ever been good.

It’s a dumb family drama with Quaid and his two sons. Quaid’s not really good, but he’s not terrible. Clifton Collins Jr. is great. One of the more interesting things in the film are he and Quaid’s hairstyles. They both have these late seventies cop movie hairstyles.

A lot of the film relies on Lou Taylor Pucci, as Quaid’s older son. He’s not bad, just ineffectual. Fugit would have been a better choice.

I was expecting to turn it off but didn’t.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by Jonas Åkerlund; written by Dave Callaham; director of photography, Eric Broms; edited by Jim May and Todd E. Miller; music by Jan A.P. Kaczmarek; production designer, Sandy Cochrane; produced by Michael Bay, Andrew Form and Bradley Fuller; released by Lionsgate.

Starring Dennis Quaid (Aidan Breslin), Zhang Ziyi (Kristen), Lou Taylor Pucci (Alex Breslin), Clifton Collins Jr. (Stingray), Barry Shabaka Henley (Tuck), Patrick Fugit (Corey), Eric Balfour (Taylor), Paul Dooley (Father Whiteleather), Liam James (Sean Breslin), Chelcie Ross (Police Chief Krupa) and Peter Stormare (David Spitz).


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Transformers (2007, Michael Bay)

Transformers features giant robots fighting each other. Such scenes look excellent, from a special effects standpoint. Depending on the specifics of the scene–how the giant robots are fighting, fists or guns, and whether or not there are humans involved–sometimes the scenes are very well directed. While Transformers does have a lot of action, the robot fight scenes are mostly reserved for the end… and then Bay either does well or poorly. He can’t compose a real–punching, kicking, scratching, biting–fight scene. If there aren’t guns and cars involved, while it looks cool with the CG, it’s a flacid.

Complaining about that particular defect of Bay’s direction of the movie is a little cheap, because there’s so many bigger complaints to make. To get them over with… Bay doesn’t really get interested in the Transformers themselves. They only have a handful of scenes with any attempt at characterization and only one of them goes well and it’s because it’s a comedy scene and Bay used to direct comedic commercials, so he does it well. He’s also more in love with his military story than Shia LaBeouf’s, taking to so far as to give Megan Fox’s stupidly written character a lot more emphasis. LaBeouf’s character is poorly written too, but Fox’s is worse. What else. Oh. It doesn’t look like Michael Bay. There’s no sensuality–did I really just say Bay has a sensuality to his style? He does: the overcooked thing. Transformers has maybe five or six of those Bay shots. The rest is style-less. The action scenes are great, the chase scenes are good, but there’s no personality. It’s like Bay didn’t want to get bad reviews for his fast cuts or something (Spielberg’s a hands-on executive producer when it comes to blockbusters… anyone else remember the rumor he added the T-Rex-sized ghost to The Haunting himself?).

Even Bay’s creative casting is gone. In his Bruckheimer days, Bay movies would be filled with recognizable faces. Not so with Transformers. I kept hoping for someone interesting, but no one popped up. Not well known actors in supporting roles (like Bernie Mac or Kevin Dunn), but recognizable character actors in small roles. Nothing along those lines here….

I thought it might be because the Transformers were going to be significant, but they aren’t (as characters, anyway… as giant robots fighting, they’re fine). The present action of the film takes place over three or four days, with the Transformers coming in the night before the last day. They’re hardly there, which is one of the script’s major problems. Though maybe not. It’s a problem, but the script is so bad, it’s difficult to make qualitative judgments. Even if the movie makes no sense, the Transformers don’t have to have terrible dialogue. But they do. The script hurries things along so much, flipping between LaBeouf and Josh Duhamel’s army story. LaBeouf is far from an acting giant, but the script really does him a disservice… it sets him up as a shallow jerk-wad. I heard one of the screenwriters compare it to E.T., but it’s like E.T. if the audience was supposed to hate Elliot (I’m sure it’s just Bay who dislikes LaBeouf’s character, since he doesn’t fit the Bay macho man mold).

I was hoping it’d be something like Jurassic Park or Twister, an effective summer blockbuster with some degree of wonderment at its content. It has none. Bay’s just not the right director for it, even though some of it looks really cool (but I think that credit belongs to ILM).

But, who knows? Maybe if Bay were working from a vaguely competent screenplay… But the Transformer based on Stripe (from Gremlins) was really funny.

1/4

CREDITS

Directed by Michael Bay; written by Roberto Orci and Alex Kurtzman, based on a story by John Rogers, Orci and Kurtzman; director of photography, Mitchell Amundsen; edited by Paul Rubell, Glen Scantlebury and Thomas A. Muldoon; music by Steve Jablonsky; production designer, Jeff Mann; produced by Don Murphy, Tom DeSanto, Lorenzo di Bonaventura and Ian Bryce; released by DreamWorks Pictures and Paramount Pictures.

Starring Shia LaBeouf (Sam Witwicky), Tyrese Gibson (Technical Sergeant Epps), Josh Duhamel (Captain Lennox), Anthony Anderson (Glen Whitmann), Megan Fox (Mikaela Banes), Peter Cullen (Optimus Prime), Hugo Weaving (Megatron), Rachael Taylor (Maggie Madsen), John Turturro (Agent Simmons) and Jon Voight (Defense Secretary John Keller).


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