Skip to main content

Transformers: Rise of the Beasts I Review by: Amanda Guarragi

 


The Transformers franchise has had some hits and misses over the years, but nothing stuck after Dark of the Moon. Director Michael Bay has had its moments, but there’s only so much you can do with the same robots fighting for the cause with the government…again. When the first Transformers film was released in 2007, the technology was well beyond what people had imagined and was impressive for the time. Now, it’s almost as if it all feels overdone and oversaturated that a film about fighting robots doesn’t make a move at the box office like it used to. After some dull instalments, excluding Bumblebee, the release of Rise of the Beasts almost feels like too much of a push to revamp the franchise. 

Director Steven Caple Jr. takes audiences back to the 90s with a new faction of Transformers - the Maximals - joining the Autobots as allies in the battle for Earth. The design for the Maximals looked good. But the issue is that there was no distinction during the fight scenes. The Maximals, Terracons and Autobots should all have different fighting techniques; sadly, that wasn’t shown at all. The main issue with all Transformers films is that there is a generic “save the world” story, and it’s just an exposition dump with Optimus Prime relaying the information. There was sure a lot of dialogue and not enough action for a movie about fighting robots. Even trying to create an emotional storyline between Noah (Anthony Ramos) and his little brother Kris (Dean Scott Vazquez) couldn’t make anyone connect to these characters. 

On top of all that, the historical aspect of the artifact had Elena Wallace (Dominique Fishback) as the most important person in the film. She studied the markings of half of an artifact and knew where the other half was. Fishback was used for plot purposes and was one of her weakest performances. This leads to the pacing of this film, as the runtime is two hours and sixteen minutes. A film that is supposed to be action-packed should not move at a snail's pace and have extremely long runs of uninteresting dialogue. The highs were high, thanks to Pete Davidson’s lively voice acting as Mirage, but the lows were low. It did take time to find its footing, but the second act dragged its feet and made it tedious to sit through. There’s only so much you can do with this franchise, and the choice to revamp it is interesting. 

Transformers: Rise of the Beasts is sadly another weak entry in the franchise. Many have had a love/hate relationship with the franchise. On the one hand, they may be fun because of the nostalgia and robots fighting. And on the other, they are also painstakingly dull for no reason. The first two films had a balance between humans helping the Autobots and developing an instant friendship with them. Everything else past those (again, excluding Bumblebee) has just felt empty, with no real connection to the characters everyone loves. This instalment also suffers from trying to set up something else entirely, and it’s shocking to see where they want to take this moving forward. Unfortunately, Rise of the Beasts felt very long, and there wasn’t enough Bumblebee for my liking. 

2/5

Review by: Amanda Guarragi




#movies #films #moviereviews #filmreviews #TransformersRiseOfTheBeasts #Transformers #StevenCapleJr #AnthonyRamos #PeteDavidson #DominiqueFishback #1STReviews #OptimusPrime #Mirage #Bumblebee 

Popular posts from this blog

The Mandalorian Season 3 Review

  Listen, I love Star Wars. I will always love Star Wars.  The  original and prequel trilogies were a big part of my childhood, and helped shape my love of cinema. While  The   Mandalorian  isn’t among my favourites in  the  franchise, I thought it had a promising first season and a significantly stronger season two. Season three had so much potential, but a frustrating lack of focus held it back from greatness.  This show’s always had a bit of an identity crisis, but it’s never been as clear as it is here. Does it want to be a procedural-style adventure of  the  week, or tell an epic, multi-season spanning arc? Season one leaned toward  the  former, while Season two found a satisfying balance of both. Season three tries to find that balance, but  the  overarching story it wants to tell is bigger than  the  few episodes allotted to do so. There are only 8 chapters, some barely over 30 min. That’s a fair...

Boss Level Film Review

       Boss Level is a new addition to the time loop genre, with a twist. Ex-special forces officer, Roy Pulver, played by Frank Grillo, relives the same day until he dies. Every day he is hunted by assassins and when killed, he wakes up back in his bed where he started, only to have to try and survive all over again. Roy has no idea why he is stuck in this infinite time loop but he must do what he can to survive, and the longer he survives, the more he uncovers about his particular situation.  Unlike most action films that take time to build up, this film gets right into it and offers tons of non-stop combat sequences that would satisfy any lover of action films. Its erratic flow makes for some fun action scenes which come out of nowhere since Roy can expect the assassins to attack at any moment. If you play video games often and have ever been stuck on a level for hours or even days, you know the feeling of having to repeat the same thing over and over again u...

Better Man | Review by: Benjamin Garrett

  What at first feels like a CGI gimmick allows Better Man to climb and swing it’s way beyond standard biopic conventions. This larger than life musical is worth a watch even if, like me, you needed to ask “Who the hell is Robbie Williams?”.  A pop icon in the UK who didn’t quite make a household name for himself in North America, Robbie Williams bares his life (the good the bad and the drug fueled ugly) in this dazzling account of his rise to fame. Musician biopics often focus too heavily on the creation of the artist’s work, and not enough on the actual artist. Better Man gives audiences a sobering portrait of the man behind the monkey, with his songs placed in pivotal life and career moments to move the narrative forward. This works especially well if you aren’t entirely familiar with Williams’ work, because you won’t find yourself waiting to hear specific needle drops. Instead they flow organically into the story, with gorgeously choreographed musical numbers.  And bo...