I miss you more than Michael Bay missed the mark
When he made Pearl Harbor.
And that’s a lot girl.
-The End of an Act, from Team America: World Police
Michael Bay couldn’t direct himself down a one-way street.
It’s not just that he uses way too many tight shots and has an unhealthy obsession for motion. It’s that he can’t seem to get out from in front of the camera. Every decision he makes screams, “Hey look at me! I’m Michael Bay and I’m the director! Lookie! Lookie!!!”
Take his latest mega-ultra-uber blockbuster, Transformers. This was such a chaotic and apoplectic movie that I actually contracted epilepsy from watching it.
If you’re looking for a character study or inspiration, just stop and slap yourself silly for even considering this movie. We’re strictly dealing with the realm of good vs. evil. The Autobots are good and the Decepticons are evil. You have now probed the deepest depths of the soul of this movie. More than meets the eye, my ass.
How do we go 2+ hours of a movie about giant alien robots fighting each other without a single chill moment? With eighty-seven hundred transformation/de-transformation sequences, why are we forced to see eighty-seven hundred close-up shots of robot foot? These are the questions we can lay at the feet of Michael Bay. I don’t know the answers, I doubt he does either.
Did I enjoy watching it? Damn straight! It’s giant death-robots fighting over the fate of the world, and I’m a 23-year-old dude. It’s genetically impossible for me not to have enjoyed it. However, it could have been so much better.
The first step would’ve been hiring somebody with more visual instinct than Jack Horner (that’s a Boogie Nights reference for those keeping track at home.) Because that’s what we got, pornography. Only instead of sex and the money shot, we get computer graphics and violence. Basically it’s 2 hours of robot porn, 19 minutes of commercials for GM and Hasbro toys, and 30 seconds about peeing on stuff.
This movie cost something like 150 million dollars to make. I don’t understand why there wasn’t a single shot longer than 30 seconds. Instead of cutting 20 interspersed shots from a dozen different angles into a discombobulated mess wouldn’t something like this be better:
“Bad-guy cop car and good-guy Camaro are searching for each other through a deserted section of the city. They each drive block by block until the spot one another down a long high-rise lined street. They each immediately and parallely slam on the brakes and spin 90 degrees to face one another.
The engines rev and the tires spin. We see and expect the cars to lurch forward and charge towards each other. But instead, each transforms into their biped robot form, complete with bulging canons and menacing stance. Take the process slow, let the audience really appreciate what is happening now. Let them feel the surrealism of the moment.
Now we get a chill moment: Using a single sweeping shot, pan from behind the bad guy, up over the top to a wide view of the entire 3 city block valley of impending carnage. Then sweep back behind the good guy as the music builds and enhances the tension.”
See, how hard was that? Nothing has exploded, there’s no dialog, no explosions, no exposition. We have anticipation. This is obviously a duel; these two characters are moments away from massive robot-on-robot action. It’s the showdown at the OK Corral before Doc Holiday pulls a gun.
Tension is thick because one of theses intergalactic warriors won’t make it out alive. We know this because we can feel it. We feel this because the director did his job, and showed us. The story has hooked us and we didn’t have to be hit over the head with it. No fancy camera tricks, no faux witty lines. We know death is coming, and it will be awesome to watch. It could be down right elegant.
If you want to see a great modern example of this, just look at the Matrix movies. Yes there is ass-kicking and wicked special effects, but we get moments to pause and contemplate why. Michael Bay never gives us the chance; he’s too busy attempting (and failing) to make the Autobots funny.
Of course, maybe it’s not Michael Bay’s fault, maybe it was a doomed project from the start. This is, after all, a movie based on a set of children’s toys. It’s the movie equivalent of basing a television show on an insurance commercial…oh wait.
All I’m saying is Pearl Harbor Transformers sucked, and I miss you.