It was at the 2009 Edinburgh Film Festival, and I had the worst film experience of my life. With three hours to go, the festival show had nothing, and I chose to watch Transformers: Revenge of the Fallen. The first Transformers was a surprising film, surprisingly funny, undeniably impressive with special effects and action scenes. I didn't expect that a few years later, its sequel would particularly affect me. yes. Two and a half hours later, I came out of the theater, shaking, nauseous, punching and kicking, aggressive.
Follett is a constant clash of robots against robots, migraines leading to boredom, barely disguised racial discrimination and misogyny, and incomprehensible action scenes and stories. As a movie fan, I unconsciously jumped into a pile of metal and rubbish and I felt nauseous and unwell - I watched this at the Edinburgh Film Festival?! What about the third part of the trilogy? Maybe it's because of the free 3D glasses and popcorn I received during the free early screening, but there was something that warmed me up. It still had catastrophic glitches, plagued by drops, but some obvious corrections that made the dark moon not only tasty, but occasionally jaw-dropping. In particular, the three action scenes make people hold their breath.
The first is the admirable restraint bay shown at the beginning of the film. The problem with Fallen King Kong is that its main selling point (the struggle between robots) quickly becomes tiresome. The first hour was marked by minimal mechanical movements, and screenwriter Ehren Kruger was well aware that we'd had enough of it after the last two minutes. Unfortunately, we have to put up with the sullenness of sam Witwicky (shia labeouf), who lives in a great apartment with an extremely charming new girlfriend who needs a job. tragic. The dialogue is truly appalling, an island of unstable language that makes characters jump from one place to another before things actually happen. New supporting characters have emerged.
John · John Malkovich and Ken Ken Jeong, who plays Sam's pedantic new boss and conspiracy theorist colleague, respectively, is apparently having a lot of fun, while John Jeong plays a lot of fun. John Turturro's recurring, denied government freak (Section 7, formerly 8). But my stomach hurt when I heard Frances McDormand (as a senior CIA official) say what she did and whitely imitate Rosie Huntington as Sam's girlfriend. She said she was neither a car lover nor an official at the British Embassy (which sparked laughter).
The inexplicable, clumsy narrative becomes incomprehensible as it moves on: the characters are still in Washington one minute, and the next they are in Ukraine, New York, and then Chicago, and they don't change their clothes or throw water on their faces; The military (led by the indifferent Josh Duhamel) seems to have easily tracked down clues within a day, and is often defeated by Sam; Anyway, the robots now seem to be bleeding as they tear each other's heads apart (maybe red diesel?) You try to ignore these obvious contradictions, but, no matter what you think, it won't let you do it, but there are key factors that can save these photos from being completely forgotten. The premise (the moon landing was just an investigation into the smokescreen of a crashed transformer aircraft) is a clever invention that combines historical footage with the zerig style of the scene, although it takes a morally dubious direction when the Chernobyl disaster is unnecessarily embroiled in the plot.
The comedy quotient has also increased, with some really funny lines and body comedies emerging from the chaos (LaBeouf repeatedly kicks his uncooperative car under the watchful eye of his girlfriend's dashing boss, a scene that is well captured in close-ups). This move once again unexpectedly raised the bar. The first major scene (the iconic scene of Highway Chase Bay) is when three dog Transformers are approaching the protagonist. The camera slows down, the computer-synthesized images are sharper, and the bay captures the smooth movement and destruction of these machine beasts, with new excitement and some kind of proximity... Well, damn, I'm going to say... elegance. The final scene (downtown Chicago being demolished by the Transformer Kingdom) is brilliant. In this movie, seeing winged Marines flying into the battlefield from overhead airplanes (the 3D effect effectively enhances this scene) will leave you stunned with nervousness and some respite, like seeing our heroes slide down office towers on skyscrapers and penthouses.
The actor is notoriously dissatisfied with Revenge of the Fallen, and his performance is so aggressive that it is either a blockbuster masterpiece or an encounter with art through intense self-loathing. When he is asked to yell at someone (often), his head will turn red and he will verbally and physically attack; You're worried about the safety of any actor or the special effects that unfortunately stand in front of him.
Seeing a man at the end of his career, craving something else, angry about going through these things again. Only after watching it can you believe that this is a miracle in the film industry, and for movies, it is still the same in the end. But there are some things here that you haven't seen before, and these things may make you feel worth entering.