Movie Review

Transformers: Rise of the Beasts is ridiculous and fun at the same time

The Transformers series has been one marked by near universal derision by the critics and (mostly) massive box office, highlighting the divide between those who watch movies for a living and those who just go for fun. Given that history, it seemed unlikely that the latest film, Transformers: Rise of the Beasts, would unite the two factions.

Like the last film, Bumblebee, Rise of the Beasts is a prequel to the Transformers films directed by Michael Bay from 2007-2017 (Bay remains as a producer). Set in 1994, it features a way-too-complicated story involving something called the Transwarp device prized by three separate groups of Transformers: The Autobots led by Optimus Prime (Peter Cullen); the Maximals, animal-esque bots led by Optimus Primal (Ron Perlman); and the Terrorbots, led by Scourge (Peter Dinklage). One guess as to which of those groups is the evil one.

Photo courtesy of Paramount Pictures

Mirage (Pete Davidson) in Transformers: Rise of the Beasts.

Noah Diaz (Anthony Ramos) is a former soldier in Manhattan who can’t find a job and tries his best to take care of his sickly brother, Kris (Dean Scott Vazquez). Elena Wallace (Dominique Fishback) works at a museum on Ellis Island, where she encounters an artifact with unusual markings. Through a series of unlikely but still fun events, both of them are dragged into the conflict between the Transformers, with nothing less than the fate of the universe at stake.

Directed by Steven Caple Jr. and written by a team of five writers, the film is as ridiculous as any of the previous iterations, and yet somehow it becomes the most entertaining entry yet. Some of this has to do with the human characters, who are given engaging scenes outside of the ones with Transformers, allowing them to be relatable instead of just pawns in the robot battles.

The trifecta of Transformer groups turn out to be actually interesting, rather than an excuse to fill the screen with CGI nonsense. The Autobots, as usual, are the main heroes, and with Bumblebee using movie quotes to talk and Mirage (Pete Davidson) lobbing wisecracks constantly, they’re rarely unentertaining.

Having the animal-like Maximals on board gives a new dimension, and the seemingly unstoppable Scourge makes for an intimidating villain.

That’s not to say, of course, that the film doesn’t devolve into chaos on multiple occasions. Several of the battles, including the final sequence, seem designed to be almost incomprehensible. But Caple and the visual effects team appear to have understood that clarity makes for a better moviegoing experience, and so even as bedlam reigns, there’s a level of focus to the film that other films in the series have not had.

Even though his character isn’t fully fleshed out, Ramos brings a kind of streetwise energy to the role that makes him stand out. Fishback is not given as much to do, but she’s still highly enjoyable. Cullen, who’s been voicing Optimus Prime since the 1980s, is still a commanding presence, allowing Davidson, Michelle Yeoh, Perlman, and more to bring their own unique flair to their characters.

It may be a low bar to jump, but Transformers: Rise of the Beasts is the best film so far in the series, cracking the code of pairing humans with robots for a (semi)intelligible story. A late movie teaser will have fans geeking out over the future, but it’s best to enjoy this film for being as good as it is.

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Transformers: Rise of the Beasts opens in theaters on June 9.

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Movie Review

Meta-comedy remake Anaconda coils itself into an unfunny mess

Photo by Matt Grace

Jack Black and Paul Rudd in Anaconda.

In Hollywood’s never-ending quest to take advantage of existing intellectual property, seemingly no older movie is off limits, even if the original was not well-regarded. That’s certainly the case with 1997’s Anaconda, which is best known for being a lesser entry on the filmography of Ice Cube and Jennifer Lopez, as well as some horrendous accent work by Jon Voight.

The idea behind the new meta-sequel Anaconda is arguably a good one. Four friends — Doug (Jack Black), Griff (Paul Rudd), Claire (Thandiwe Newton), and Kenny (Steve Zahn) — who made homemade movies when they were teenagers decide to remake Anaconda on a shoestring budget. Egged on by Griff, an actor who can’t catch a break, the four of them pull together enough money to fly down to Brazil, hire a boat, and film a script written by Doug.

Naturally, almost nothing goes as planned in the Amazon, including losing their trained snake and running headlong into a criminal enterprise. Soon enough, everything else takes second place to the presence of a giant anaconda that is stalking them and anyone else who crosses its path.

Written and directed by Tom Gormican, with help from co-writer Kevin Etten, the film is designed to be an outrageous comedy peppered with laugh-out-loud moments that cover up the fact that there’s really no story. That would be all well and good … if anything the film had to offer was truly funny. Only a few scenes elicit any honest laughter, and so instead the audience is fed half-baked jokes, a story with no focus, and actors who ham it up to get any kind of reaction.

The biggest problem is that the meta-ness of the film goes too far. None of the core four characters possess any interesting traits, and their blandness is transferred over to the actors playing them. And so even as they face some harrowing situations or ones that could be funny, it’s difficult to care about anything they do since the filmmakers never make the basic effort of making the audience care about them.

It’s weird to say in a movie called Anaconda, but it becomes much too focused on the snake in the second half of the film. If the goal is to be a straight-up comedy, then everything up to and including the snake attacks should be serving that objective. But most of the time the attacks are either random or moments when the characters are already scared, and so any humor that could be mined all but disappears.

Black and Rudd are comedy all-stars who can typically be counted on to elevate even subpar material. That’s not the case here, as each only scores on a few occasions, with Black’s physicality being the funniest thing in the movie. Newton is not a good fit with this type of movie, and she isn’t done any favors by some seriously bad wigs. Zahn used to be the go-to guy for funny sidekicks, but he brings little to the table in this role.

Any attempt at rebooting/remaking an old piece of IP should make a concerted effort to differentiate itself from the original, and in that way, the new Anaconda succeeds. Unfortunately, that’s its only success, as the filmmakers can never find the right balance to turn it into the bawdy comedy they seemed to want.

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Anaconda is now playing in theaters.

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