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Showing posts with label 2019 movie time. Show all posts
Showing posts with label 2019 movie time. Show all posts

Sunday, 2 June 2019

2019 Movie Time - #6 Godzilla King Of The Monsters

We're back at the flicks, and this time - it's for the monsters.


My earliest memories of the Godzilla franchise come from the Channel 4 showings of the Showa-era Godzilla movies. They were entertaining enough - I was a kid, I liked big monsters - and then, for the longest time, there was nothing...

...until along came this fucking thing.


Yeah just looking at that image...

It wasn't long after this shit-sluice of a movie came out that I started looking back into the franchise. I started from the very beginning. I saw the more modern era of movies wherein they started to take themselves somewhat more seriously again. It wasn't until 2006 that I saw the original Gojira from 1954 for the very first time - and I do mean the original, not the Americanised edit.


I was furious. Like, here I was, being spoon-fed kiddy films with Godzilla doing funny dances and doing this tail-slide drop-kick thing and here, HERE was the literal piece of art that had spawned it? And instead of seeing this, we got given a bastardised shitshow?

So my concerns when the Gareth Edwards film was announced were somewhat heightened. Another American Godzilla? I mean, how could it compare, now that my eyes have been opened to what could have been?

Pretty well actually.


It's not the same movie. You can't take it as the same movie - it's not meant to be. You have to take it on its own merits, and its own merits are significant. The cinematography, the sound engineering, the acting, the pacing, Ken Watanabe, Bryan Cranston, it was excellent.

Kong: Skull Island does another solid round of Beating The Snot Out Of Its Prior Western Adaptation too. The Jackson King Kong is garbage - Skull Island is a tour de force, what kind of movie can effectively combine the same beats from the beginning of the original King Kong story with the plot of Heart of Darkness?


So imagine my joy at hearing the words: Sequel.

Warning. Below, there are spoilers.

I have problems. Very few, but they exist - insofar as two of the leads have... very little charm, and very little reason to be in the movie aside from acting as dramatic tension points. Kyle Chandler and Vera Farmiga are just... bad decisions wrapped up in generic names and somehow end up being the parents to Millie Bobbie Brown, who is frankly a wondrous gift to humanity.

Also one of the Monarch tech heads has some annoying lines but I think that's because he is meant to be annoying.

Outside of that:

BRILLIANT.

Yes! Brilliant. Monsters! Monsters fighting monsters! We open with monsters. Yes. YES. The monsters are loose.

I mean... that's all I really need to say, right? That satisfies me. But there's more, it has a cogent plot, too. Yeah, it's a bit nonsense, but this is a Godzilla movie. Like, we have already accepted giant monsters that communicate with sonar and that eat radiation, none of what we see in King Of The Monsters is out of bounds.

The fights look great, too. Like there's very little Bayformers here. What is going on is usually quite clear (unless it deliberately isn't) and, well, we came here to watch them fight? So we let them fight.

There's a lot of nice nods to older Godzilla flicks too. Mothra gets awoken by two ladies. I mean that was nice and subtle - but then you actually have the twins from back in the day show up in old family pictures, so they really double down on that particular reference.

The sound engineering is, again, fantastic. Sound plays quite a big part in the movie - there was a lot of sonic action back and forth between G-man and the Mutos in the first one, so it's little surprise that this is explored as a thematic that ends up driving the plot. So having all the beasties sound right is very important.

They look right, too. If anything Godzilla looks more like the king of the monsters than ever, Rodan looks solid as fuck as this flaming bird-wing bastard, Mothra is, well, Mothra. The other Kaiju look pretty great too. But it was always, always going to be about this guy. Monster Zero. The Golden Devil.


King Ghidora.

He makes the movie, honestly. Look at him. Look at how ridiculous this shot is. It's brilliant. Absolutely brilliant. And that's what we're here for, isn't it? It's what we want. The cinematography is superb, not as dark and moody as the first one, much less serious and gritty - much more in line with the Heisei-era monster mash.

So all the monsters fight and everyone gets what they want. Fantastic. Sign me up. It's not smart, and it's not particularly deep - but it's true eye candy.

Can't wait for the next one!

If you'd care to share my blog with your friends, I'd appreciate that! If you'd like to thank me in a fiscal form for entertaining you a little bit, I do have a Patreon right here, but please - no pressure. Thank you for reading, and check my social media to the right to keep in touch.

Sunday, 5 May 2019

2019 Movie Time - #3 Captain Marvel / #4 Infinity War / #5 Endgame

Hard to believe that the last time I made it to a cinema was back in the beginning of January - but here we are. At least the days I go, I make it worth it, right?

And not satisfied with the double-feature of last time - in which I found what is probably my favourite Marvel movie, and new hope for the Transformers movie franchise - this time we have a triple header.

Yes yes.

Admittedly - this all happened on Wednesday the 24th, about a week and a half ago. I just didn't really want to do the reviews last week, if only for spoilery reasons. I think we're starting to get into the period wherein most people who care have seen it, now.

That said. If you haven't seen Endgame, and don't want a frank discussion of the plot? It's gonna happen in this blog. You have been warned.

Let us begin.

#3 Captain Marvel (2019)


A superhero movie about a badass lady set in the 90s? Someone read my Christmas list.

Captain Marvel isn't a complicated movie. It isn't meant to be. It does what it is trying to do, ties it up in a bow, and leaves the character of Carole Danvers for further adventures (some of which will definitely be handled below). What it is, is thoroughly enjoyable.

A soldier in an alien war machine, Vers (yeah there's a reason they call her that) is tasked with hunting down face-changing "insurgents" responsible for terrorist attacks - and finds herself questioning everything when it turns out that she might not even be who she thinks she is. In fact, she's been gaslit pretty hard.

For a movie so simple - bits of it are pretty subtle.

From the very beginning, you don't necessarily buy all the things she is being asked to buy into. There's an ongoing suspicious air around the activities of the Kree, which perhaps is more informed by our view of how the world works in the current age than anything. You'd have to be naive to not see obvious parallels between certain foreign policy decisions and the mission that Vers - under the stern gaze of her commanding officer, Yon-Rogg - is sent on in the beginning of the movie.

(If you can't see it - a small force of elite soldiers being sent into arid terrain in which the "natives" could be the "enemy" and should be treated as secondary to the "mission" to extract an "asset"?)

It isn't long after the mission goes south that we see Carole Danvers start to shine.

Yon-Rogg and the other Kree spend a lot of their time telling her to chill out and calm down, see. She's always, always being told that she needs to do things their way, that she has to rein herself in, that she's too emotional, so on, so on.

The first time she is out of their line of sight, she pretty much comes alive. She fights like a valkyrie. She smirks, she laughs, she's competent and powerful. You very quickly realise that the Vers that Yon-Rogg wants her to be isn't the person she really is... and that should be your first indication that the script was primarily written by women, who have first-hand experience of this. Having to lessen themselves so they don't make the menfolk mad.

Irony, given that one of the responses to this movie was:


sHe Is ToO pOwErFuL

Well for one thing, this is a superhero movie. I didn't hear any of these complaints when Hulk punched Surtr half to death in Ragnarok, or when Steve Rogers didn't die immediately when the plane crashed with him in the cockpit.

Could it be that she gets treated differently because she is... wait, wait... no. No. It COULDN'T be that she's not allowed to be strong or powerful or cocky or arrogant or sarcastic because she has the audacity to be...

...a WOMAN!?

Shock horror - but hey, there's a section of the internet that is never going to be happy until every character is a white cis-het male, so fuck them anyway. The movie's approval rating was review-bombed down to 28% on Rotten Tomatoes BEFORE its release, then rose back up to a 78% review score AFTER release; if that doesn't tell you everything about these people, nothing will. If you don't like a superhero being a superhero, you're in the wrong place. Go home.

I love Carole Danvers. She reminds me of a halfway mix between The Sentry and Daria. She's like the super-person you really wish Superman was capable of being, except he's too flat. She's a hero. She's a hero who whoops when she flies and sings bad karaoke because it's fun.

On the topic of music? The score for this film absolutely slaps. Not just the soundtrack - which features some of the good shit from the nineties, you know me - but the score. It's got a fantastic set of motifs which are unmistakable even when heard casually. Nick Fury's little "I'm Doing Stuff" motif is this wicked electric guitar riff. I've listened to that score like once every couple days since I saw the movie, that's how much I liked it.

I got out of that movie with a good feeling. I felt good watching it. It made me laugh, it made me cheer. I think the thing I liked the least was the noise of a cat horking up a hairball at the end. (Anyone who has had a cat will testify to this noise being the worst noise ever.) Outside of that, well - hell, it ended up pretty high on the List. It's top five. It was an enjoyable bit of cinema even without the greater MCU context.

Speaking of the greater MCU context...

#4 Avengers - Infinity War


We watched Infinity War / Endgame back-to-back as a double feature, and frankly - it actually made me like Infinity War more to see it presented as a part 1 to Endgame's part 2.

See I LIKED Infinity War - liked a lot of the things it did - but it felt a little... bitty. A little all-over-the-place in parts. I recognise it is difficult to tie together the threads of the MCU into a cogent ending but still, the problems gotta be recognised.

Seeing it again reminded me how funny I find some of it. The entire scene in Manhattan, Tony and Strange squabbling with each other, actually leaves me in stitches. Whenever Tom Holland's Peter Parker shows up - yes, I'm a fanboy of him, too. The fight scenes are predictably nicely put together, too. I mean, why wouldn't they be. They've been doing this for a while. My boy War Machine gets to put in some work in that final fight. Bruce Banner gets to be Bruce Banner. Thor gets to work through some truly holy rage.

I don't think I need to go into a lot of detail about this one. I'll just move on to the main event here. Which, obviously, entails spoilers. You've been warned, okay?

#5 Avengers - Endgame


I didn't know what I was expecting when I went in to watch this. Not really. I had some theories. Almost every expectation I had was blown away - this isn't the movie you think it is.

It becomes obvious that the two were filmed at the same time. The two are similar to the second and third movies of many modern trilogies - The Matrix and Pirates Of The Caribbean come to mind. The movies individually don't necessarily feel complete, don't fit within a neat arc, don't feel contained or resolved, don't seem to give good balance to aspects of character. Taken as pairs seen as a whole, they are a lot more balanced, a lot more fulfilling to watch.

(I mean I say that. I may personally like the Matrix trilogy, but nothing will convince me to rewatch the Pirates movies. Urgh. Anyway.)

While Infinity War was very compartmentalised, putting each of the Avengers in different places (and straight-up not featuring one of them at all), Endgame is literally an Avengers movie. It's about them. More specifically - it is mostly about Steve Rogers and Tony Stark.

I came into the movie with some theories as to what would happen. Only two came to pass - one was obvious, one was a joke.

The obvious one is that Dr Strange knew that everything had to pan out this way. HAD to. That's why, while everyone else was trying to stop Quill from slapping Thanos about, he did literally nothing. That had to happen. He saw the way it would all pan out. And that is why, when he gives the stone to Thanos, he apologises to Tony.

He's not saying, "I'm sorry I am giving him the stone because we fought hard to keep it from him". He's saying, "I'm sorry - but I am keeping my promise - because you WILL die at the end of the chain of events I have foreseen. I said I would sacrifice you to keep the stone safe. That is exactly what I am doing."

The joke I made was that - heh, wouldn't it be fucked up if they just went and murdered Thanos in the first fifteen minutes? ...which wasn't out by much, because Thor lops his head off with Stormbreaker in the nineteenth minute.

What follows is one of my two quibbles with this film.

Five years pass. During that time, Tony has made good on the vague statement he makes at the end of Age Of Ultron - "Maybe I should take a page out of Barton's book. Build Pepper a farm, hope nobody blows it up" - and the dream he had involving Pepper being pregnant. Steve Rogers has done what he always does, held together small groups with his natural warmth and leadership. Black Widow has slipped into a paranoid overwatch role in the remains of the Avengers head office. Hawkeye has gone full Ronin, and is busy killing his way across what remains of the world's criminal underworld. Bruce deals with Hulk by treating him as a cure rather than a disease, and in doing so becomes greater than the sum of his parts. And Thor...

Well Thor justifiably has a breakdown. He's lost his mother, his father, his hammer, the three buddies he used to pal around with, his best friend, and his brother - who he was just starting to get on with. Half of his people are dead. He throws himself into the task of murdering Thanos, because he has "nothing else to lose". He almost dies making a weapon that can kill a being that powerful. Then he shows up and he puts it to use - and through little fault of his own, doesn't get the job done before Thanos snaps half the universe into oblivion. (Presumably also including half of the remaining Asgardians.) He gets another chance and beheads the big purple bastard, and...

...and there's still a hole where his entire life was, and all the people that were gone are still gone. He failed. That is the only way he can see it. He failed his people, he failed the universe, and even finally going through with the killing didn't fix that. So he has a breakdown, and slips into a depression the likes of which are hard to imagine. Which is obviously represented by him... getting fat... and it being a joke? I don't like "he put on weight" being shorthand for "he had a serious fucking blow to his mental health and hasn't really recovered". Even if the scene in which you see him for the first time has one of the most incredible bits of face acting I've seen in any of these movies - when Bruce says Thanos' name. I didn't know Chris Hemsworth was capable of that level of pathos. The anguish that just... radiates from him in that one moment... is palpable. It hurts.

There's a few of those moments. They happen later though.

The midsection of the film - I say midsection, more like the middle hour and a half - is a time heist. Yeah. Time heist. I said it. And it is... actually fun. It's kind of a bit weird. Like in the face of this tragedy, we're engaged in hijinx to not go back in time to stop Thanos, but to just bring back everyone that was lost. In doing so it is almost like we are almost being shown the Avengers greatest hits - revisiting scenes from previous movies, seeing characters that aren't around any more, even dipping into the TV universe with Steve Rogers almost running into Peggy Carter and Tony Stark getting to have a talk with his own father.

It bears mention that the "rules of time travel" in the Marvel Cinematic Universe aren't actually very well defined at all, despite the amount of arguments I see about it online - there is only one rule, and that one rule is given by the Ancient One, to Bruce Banner.

The stones have to be where the stones are. If they aren't, everything goes wrong. Otherwise, everything is fine.

So as the past starts to seep into the in-movie present, we don't have to worry about paradox. And that's good, because the plans start to come good, and we get the stones back. The Soul Stone, of course, requiring a sacrifice.

My second quibble. I think Black Widow was sold short. Like, not just in this movie. In general. She gets to be support. Constantly. She helps everyone else achieve their objectives, and while that is a valuable contribution, I want her to shine. I want her to do things. I want her to have her Captain Marvel moments - and they just never seem to quite emerge. I know she is chalked in to get her own spin-off movie or series, but... well... it felt a little like fridging, like she'd died mostly because it would make other people suffer. I think she deserved more. I think she should have been there when A-Force happened.

Oh, you don't know about that yet? Well here comes.

So Bruce Banner gets the Stark-forged right-handed Infinity Gauntlet on, and Snaps, and really savagely fucks himself up doing so. But before we see any serious effect of this happening - short of Clint's phone buzzing, his previously-dusted wife calling him, and Scott seeing a sudden increase in the amount of birds outside - the bad shit happens. Thanos decides to take the fight across time, shows up over Avengers Compound circa 2023, and bombards it into a smoking crater. Which sets us up for the endgame of the title.

While several folks struggle with the smashed-apart structure of the building - and Clint tries to get the gauntlet out of the sewers - we get to see how much Thor, Tony and Steve have changed since that fight in the park in Avengers Assemble. It's one hell of a fight against Thanos, who - even without the stones - is an absolute monster. During that fight, one of the coolest moments in the Marvel universe happens, and I was not the only one in the cinema who cheered when they saw this:

Steve Rogers summons Mjolnir, proving himself worthy. And Thor isn't angry, or jealous - Thor is overjoyed. "I KNEW it!" he yells, grinning. That moment, that moment right there, is worth price of admission alone.

It's not enough, of course. Thanos brought his flagship, the Sanctuary-II. Thanos brought an army. The three amigos are left in the dust. And Steve Rogers, shield actually broken by Thanos' attack, stands up. He stands up, and squares his shoulders, because that's what he does. He can do this all day.

"On your left."

The hairs on the back of my neck go up when I think about that scene, when I hear the piece of music on the score. Of the lost people coming back through portals, brought back by Dr Strange. Of Tony Stark seeing Peter Parker again and grabbing him like a long-lost son. Okoye and T'Challa and Shuri, and half of Wakanda. Every wizard that Strange knows. Valkyrie, resplendent in her war plate and her fucking unicorn. The works. Everyone is here for this. This is how this fight is going to happen.

It does happen, too. It's a hell of a spectacle. Carole Danvers showing up and being a one-woman cavalry resulted in more cheers from the rest of the folks I was watching the movie with. She smashes Sanctuary-II like a matchstick model, takes the gauntlet from Peter, and then...

So A-Force is a period of the Avengers in which the team is all women. That's what you get. The badasses line up, and carve a path for Danvers to deliver the payload. I wish Black Widow had still been around for that moment, in which the majority of the MCU's women get to slap around Thanos' legion of dickheads, but I will settle for what we got - which probably prompted more squawking like


tHaT wAs So CoNtRiVeD

It's a superhero movie, go home.

Push comes to shove, and in the end, it is Tony Stark who does the deed: snapping his fingers to do away with Thanos and his legion. And here we come into character endings, because after 22 movies, these are important.

Tony Stark doesn't stop living - doesn't stop desperately clutching onto life, even after the side effects of snapping the gauntlet almost totally destroy him - until Pepper whispers to him that he did good, that everyone is okay. That they're safe. And then, and only then, does Tony Stark allow his own heart to stop beating. He is sent off with a touching funeral. Because even if he was an asshole at times, he was - when it came down to it - a hero.

Steve Rogers is tasked with the unenviable burden of getting all the stones back to where they were taken from. He does so, presumably - also presumably returning Mjolnir to Asgard halfway through Thor: The Dark World - and then... he goes to live the life that he didn't get the chance to have the first time round. He gets to dance with Peggy. He, this most worthy of heroes, gets his rest.


BuT tHe TiMeLiNe

Stones are back where they were because the world doesn't end. Go home. Sure, I'd like to see HOW he got the stones where they were going, but that's ultimately unimportant. Even if I know how I'd do it, were I him.

Thor isn't a leader. He's tried that. The one time he tried it, it didn't work out spectacularly well. He's just not cut out for it, which is frankly fine - he's seen that someone else being worthy doesn't make him unworthy - so he goes off with the friends he has left. The Asgardians of the Galaxy. Guardians 3 promises to be one hell of a ride with him aboard.

Bruce Banner presumably remains tech support for the Avengers. He's at peace with who he is, now. He's still a genius. He's still massively strong. He's just more comfortable doing what he does. If anything he's resolved the major thing he had wrong with his life. He just has to mourn the loss of Natasha Romanoff.

Clint Barton goes back to his family. Ronin is gone. He, too, is going to mourn Black Widow's loss. They all are, in their own ways. Clint, probably, the most. But he has his family, which is the most important thing to him, now.

We're left with a new Captain America in the form of Sam Wilson, a resurgent Wakanda, Peter Parker back in school, Strange back in his Sanctum. James Rhodes and Wanda Maximoff are still around. The Avengers still exist. A new phase can happen, with the old Avengers fading into the background.

That's how it is done.

Truth be told, if we never saw another Marvel movie, I'd be satisfied with what we got - what more can I ask for?

So you know what? 24th April 2019 was probably the best day of cinema I've ever had. It left me exhausted, emotionally, mentally and physically, and it was absolutely worth it.

I'm thinking the next cinematic experience that will crop up in this blog will probably be either... Spider-Man Far From Home, or Godzilla II, or - shudder - the new X-Men movie. We'll see.

Either way. Thank you for reading my ramblings. Especially all my Endgame nonsense.

See you soon.

If you'd care to share my blog with your friends, I'd appreciate that! If you'd like to thank me in a fiscal form for entertaining you a little bit, I do have a Patreon right here, but please - no pressure. Thank you for reading, and check my social media to the right to keep in touch.

Sunday, 6 January 2019

2019 Movie Time - #1 Into The Spider-Verse / #2 Bumblebee

So my lovely readers - welcome to a brand new feature.

I'm going to make a concerted effort to watch more movies, this year. So you're gonna get movie reviews - maybe in ADDITION to your weekly dose of whatever you read this blog for.

This being the first of the new feature, I'm going to dedicate the weekly blog to it, as it is the coolest thing that has happened to me this year so far, in its infancy.

I'll make sure these are labelled well and tagged so, frankly, if you don't want to read my opinion on movies both new and old - feel free to avoid them. Otherwise, welcome!

Also I will endeavour to avoid actual spoilers, and if you want to talk to me about spoilery things you probably know where you can find me, but be warned - I may infer things in the review which you may prefer to not know when you walk into the movie. Reader, beware.

So without further ado.

#1 Spider-Man: Into The Spider-Verse (2018)



I have been hype for this since the first trailer.

Why, you ask? Well, because we've had - in the past 20 years - seven movies featuring three different Peter Parkers, and if we're fair, only half of them have been good Spider-Man movies. Spidey is great, and I love him, but - it wasn't until Homecoming that he actually changed up, stepped into the modern age.

So imagine my joy when I see that this one? This one is about Miles Morales - whose existence is hinted at in Homecoming. It's just a throwaway line, but a fan-pleaser.

Miles is a teenager from Brooklyn. He's from an intersection of multiple worlds. He's witty. He's funny. He's awkward, but not in a truly cringeworthy way until, well, certain things happen.

He, of course, ends up in the same shoes as Spider-Man. But he isn't the only one.

I'm not going to go into specific plot details - it's a good plot, and there's a lot of neat twists. The characters that you think you know really well, turn out to be a little different, and... I can't think of any way in which that turns out to be a bad thing. It's a very aware movie, too. Lots of injokes, lots of easter eggs. Love letters to various bits of Spider-Man's history. Yes. Including the Japanese show.

Why is it such a good movie?

For one thing - I laughed. I laughed a lot. I laughed myself into a coughing fit, with tears in my eyes. It is genuinely very funny, visually and verbally witty. If you don't come away from the movie loving Miles, then part of you is dead. If you don't laugh, then MOST of you is dead. The comic timing of the movie is superb, too - edited together in a way that modern comedy movies can't really hope for.

The action choreography, too, is fantastic. The agility and motion is just absolutely pitch perfect. Spidey moves and jumps and swings and twists and turns with the best of them - and the brilliant kinetic motion of the entire thing isn't just reserved for when he has his mask on. The bad guys he ends up facing off against (I am not telling you who they are) make a great counterpoint - for the most part, serious and solid sluggers, who provoke the Spiderpersons to acts of acrobatic mayhem just to stay ahead of the game.

Which in a movie animated like this, looks absolutely spectacular. It's 3D animated - and yes, people will hate it immediately for that. You will probably forget that partway through. The texturing, the mix of different animation styles for the individual characters, the way everything looks and feels on screen - the only complaint I have is that there's a lot of flashing interspersed throughout the movie, so it's really not great for those who are photosensitive.

I really liked the soundtrack. Loved it. The score and the soundtrack alike, in fairness. There's a few standouts, but the songs themselves - while great - are that much better in the context of the scene that they're used in. There's some neat surprises in there, too.

Fine details - there's things they didn't need to get right, that they did. The texturing on the characters, on the suits. Little background bits that you don't really think about. Phrases that characters use. How seamlessly Miles slips into Spanish when spoken to in it. The things in Miles' room, in his possession. The fact that Steve Ditko gets literally name-dropped in the movie in a salute to the creation of Spider-Man as a whole, as does Brian Michael Bendis, the creator of Miles Morales himself. The fact that Brooklyn LOOKS like Brooklyn. It FEELS like Brooklyn. It's enough to make you believe that they cared about this when they made it, not just to entertain kids.

The thing that Spider-Verse does so well is that it draws you into believing.

A big thematic of Spider-Man's is that, when the rubber hits the road, he finds what he needs inside himself to keep going and to get back up. Tenacity. Digging deep. Being on the lowest ebb, grabbing a double fist full of whatever it is that drives him, and carrying on. You've seen it in the setpieces of the movies - stopping the train, holding together two pieces of a broken ferry, trapped under the rubble. You are taken on that journey with Miles, and when he falls, and when he digs deep, you dig deep with him. You believe in him, with all your heart.

If that's not worth price of admission, I don't know what is.

#2 Bumblebee (2018)




So you would know if I hated this one because you'd get another blog like these two - the one shouting about how terrible Age Of Extinction was, and the follow-up about how awful The Last Knight was.

This isn't one of those.

I've said a similar thing to this about several movies and games in the past, but it bears repeating: I get the impression that the people that put Bumblebee together took a list of the things wrong with the other movies and then set out to fix them one at a time.

What problems, you might ask? Especially if you're unaware of my absolute venom toward the Bayformers movies.

Well, for one thing: this one acknowledges that the Transformers themselves are actual characters.

They have personalities. They aren't just two-bit throwaways. They aren't just there to spit out a couple of lines and then, poof, gone. Like - okay, I want to avoid spoilers, but the Decepticons actually have a personality in this one. They aren't just hurhur evil. Well. Okay. Dropkick kind of is. But the fact that he forms a contrast with Shatter? The fact that they are different, but work together, and communicate, and have plans? That their plan is a deception?

Bumblebee himself goes through an actual character arc. As does Charlie, the human that finds him. They find each other, and they develop in two similar directions. Not the same, though. Not the same at all, even if a key part of what they do is to find out who they actually are, underneath the battle scars.

You learn more about the war between the Autobots and the Decepticons, and what is going on IN that war, in the first ten minutes of the movie than the five that preceded it. How is it even possible? How can you go through five movies, and not detail the thing that brings the Cybertronians to Earth in the first place? ...unless you don't care for beginnings or origins, and you just want to show Shia or Mark reacting to them being here. Which was always the problem. Framing Transformers as a disaster movie.

A focus on the Transformers being actual characters in the movie means that thought is given to how they approach things, and how we see them do things. Which means that the fight and action scenes get blocked out better. They're not just a blurry mess - and fully two thirds of the other movie fight scenes were blurry messes. You have these primary coloured characters with distinctive personalities and combative styles, and you can make out what they are doing. You can SEE what they are doing. You aren't left wondering what the hell just happened.

Optimus Prime - yes, he's in this movie - goes HAM, at one point. Just full-blown 1986 movie You Got The Touch Megatron Must Be Stopped HAM. ...does he talk about ripping anyone's face off? Does he tear anyone in half? No. No, he fights. No brutal merciless slaughter. He's fighting against big odds. He's throwing himself into the thick of it to save his people, because that is what Optimus Prime DOES.

It's the first live-action Transformers movie about the Transformers, that seems to remember who they are.

It has a contiguous plot. A plot that makes sense. A plot that has a beginning, a middle and an end, and I would hesitate to identify any single scene that you could cut out and not change the film. And while you get the same "oh god I have to hide these giant robots oh god they are acting out" scenes as from the FIRST Bay movie? We've already established who Bumblebee is. We have already established his character. We CARE about him, and so we care about him not being discovered. And it's... charming. It isn't just tasteless jokes about how clumsy these warrior robots are, or how Ironhide (an Autobot) wants to kill, like, everything.. It's legitimately funny. It provokes laughter.

Because it isn't tacky, which is the word I would stick (harhar) on the others.

There's no jokes about dicks, balls, arses or anything similar. You don't get a long shot of a pair of wrecking balls, and then - just in case you missed the subtext - have a highly annoying and sleazy character that you objectively hate explain the joke to you. I'd struggle to spot random racist bullshit, which is pretty prevalent throughout the rest of the series. Similar on sexist bullshit. Less jokes that middle-school me would have laughed at but that high-school me rolls their eyes at in sheer embarrassment. Ironically for a movie set literally twenty years before the first one in the series, it is far more progressive.

And you know the very, very best thing about this movie? Better than even the soundtrack (which is excellent and ALSO dropped a very special thing in there JUST FOR ME which actually brought TEARS to my eyes)? Better than even the fact that the bot designs don't look like absolute shit any more? Better than even the cinematography, which in various places is gorgeous? Better than how this movie brings the late eighties LITERALLY to life, with a bunch of technology that I remember being around when I was a little kid?

It's the fact that by the time it is over - without a doubt, those first five aren't the canon any more. This is a new, fresh beginning. This is a nod to the past that steps into the future. The future in which Optimus Prime rips off people's faces and demands that people know what his name is, is gone. The hand of fate smoothing the sand of time clean.

Not only did I love Bumblebee - I am excited for the next movie in this franchise. And I know there will be one, even if Travis Knight doesn't direct it.

There you have it.

First two movies I got to see this year at the cinema, and they were both bangers for different reasons. I was more invested in Bumblebee, but I was more surprised by Spider-Man. Both of them are going to end up on my shelf.

Who knows where our journey takes us next, dear reader? Who knows. We'll see.

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