As a lifelong fan of Transformers, I must say that “Transformers One” is a breath of fresh air in this complex and convoluted franchise. Having grown up with the original animated series, I was initially skeptical about another retelling of Optimus Prime and Megatron’s origins. But, director Josh Cooley has managed to create an engaging and emotionally resonant origin story that is accessible to both newcomers and longtime fans alike.
Is there any children’s franchise with a more intricate backstory than the one behind the “Transformers” series? The live-action adaptations directed by Michael Bay were criticized for being too explicit for their young audience, simplifying a storyline based on various Hasbro toys to the point of seeming dull. However, the complexity of the unnecessary mythology could sometimes make it feel like you needed to study multiple instruction manuals before watching. The appeal of this franchise lies in the robot-on-robot battles; watching the movies can be like searching every nook and cranny in your house for batteries for your toys, only to finally enjoy the fun you anticipated.
3 Billion years prior to the live-action film “Transformers: One,” we are transported from Earth’s human dramas to the alien world of Cybertron, where the friendship turned rivalry between Optimus Prime and Megatron unfolds. This movie caters primarily to its young audience, a group that has been somewhat overlooked in the series so far. At its best, it avoids trying to please both old and new fans simultaneously, resulting in a more enjoyable experience. However, occasionally, it struggles to resist hinting at the characters’ future developments, which slightly hinders its potential as an engaging introduction for a new generation of viewers.
The voice cast is outstanding
The standout aspect of “Transformers One” lies in its portrayal of the evolving friendship between Orion Pax, played by Chris Hemsworth, and D-16, portrayed by Brian Tyree Henry. Instead of abruptly changing their relationship in a specific scene, it progressively degrades throughout the storyline as they transition from being workerbots at the bottom of the social hierarchy to plotting an escape from crowded industrial cities to reach the surface world. However, their escape plan necessitates disrupting the established order, leading D-16, along with B-127 (Keegan Michael-Key), who becomes known as Bumblebee, and Orion’s underdeveloped romantic interest Elita (Scarlett Johansson), to hesitantly comply. The initial phase of their scheme involves intentionally crashing the Iacon 5000 race, a challenging feat given that they haven’t yet acquired transforming abilities, thus drawing the attention of Sentinel Prime (Jon Hamm), who aims to remind these clumsy bots of their lower status in the social hierarchy.
At a screening, I watched a near-final cut of director Josh Cooley’s movie. The changes required were so minor that even Paramount deemed them unnoticeable for critics to review. However, in the varied landscapes of Cybertron, it would be hard to spot any necessary improvements. Conversely, some characters appeared less polished; although they were beautifully animated with CG, their designs seemed reminiscent of children’s TV shows, becoming striking when contrasted with more convincing backdrops. Over time, I managed to ignore these design flaws entirely due to the strong performances of the well-chosen voice cast, in an unusual instance where typecasting benefited these characters.
As a fan, I found the early version of Optimus Prime to be a kind-hearted but somewhat clumsy hero, similar to Thor’s character development in the movies directed by Taika Waititi. Key skillfully transforms a typical comic sidekick stereotype into an endearing figure, even though his jokes sometimes grate on others. Hamm continues to excel at portraying slightly shady wealthy characters. However, it’s Henry who truly stands out, evoking memories of the Shakespearean depth and Orson Welles-like gravitas displayed in the previous big-screen adaptation of this franchise, marking a fitting final performance for him.
Almost a great entry point for a new generation
In this film, it’s clear that every actor is fully invested, not just appearing for a quick paycheck in a children’s movie. Brian Tyree Henry stands out with his heartfelt performance, treating the backstory of a toy as if it were a profound tale of friendship and deceit. As we move into the third act, Optimus Prime and Megatron regain their iconic, booming voices, but you can tell they’re not voiced by their new actors; Chris Hemsworth does a good job imitating Peter Cullen as Optimus, while Henry gives the character his unique twist. Despite being a well-known origin story, Henry manages to avoid making the villain’s reveal a simple fan service moment.
In a straightforward manner, it’s hard not to find it peculiar when evaluating a “Transformers” movie based on its acting performances. Director Michael Bay has brought in some Academy Award winners like Frances McDormand and Anthony Hopkins, but he often uses them in a way that seems intentionally over-the-top, almost as if mocking their seriousness. However, Josh Cooley, the director of the latest “Toy Story” film, doesn’t treat this type of material with contempt or acknowledge its inherent silliness in the same manner. Instead, he encourages his actors to follow suit.
One standout aspect of “Transformers One” is that it managed to surprise an experienced critic, who I won’t identify to save their dignity, so engrossed were they in the plot that they reacted with shock when Megatron was ultimately unmasked as a villain. This level of engagement from seasoned viewers suggests that this film might resonate strongly with younger audiences; it would be even more effective if it provided a clear starting point, without any hints or references to future installments for these robots.
“Transformers One” crashes into theaters on September 14.
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2024-09-12 16:30