Transformers 3.

Egy újabb fantasztikus autópályás akció, amely lassan a rendező legmegbízhatóbb védjegyévé válik. A tengerészgyalogosok, akik látványosan repülnek A sötét lovag hongkongi repülése mintájára, és a chicagói pokol a végén tiszta akciós öröm. Ezúttal Bayo-hoz képest is szokatlanul áttekinthető. A film többi ideje, legalábbis a film fele azonban annyira komolytalan, unalmas, sőt időnként idegesítő, mint még azelőtt soha. Malkovich karaktere egy nagy szörnyűség, és Frances McDormand és John Turturro idiótává válását nézni, az már az emészthetőség határát súrolja. Patrick Dempsey-t és Rosie H.-W.-t pedig melyik tévés miniprodukcióból ásták ki? Megan hiányzol nekünk! Biztos helyem van a pokolban, mert a harmadik Transformers filmnek ugyanolyan értékelést adok, mint Trier Melankólia című filmjének. Mit tegyek. Michael Bay egy tehetséges kereskedelmi patkány, aki eladta magát az amerikai hadseregnek, az amerikai kormánynak és a gátlástalan vállalatoknak, miközben Hollywood csillogó ragyogásának és technikai leküzdhetetlenségének megtestesítője. Vegyük el tőle a kamerát, és akkor nem lesz kit egyszerre gyűlölni és csodálni. (2011.06.30)

The first major 3D contribution to world cinema: Michael Bay gave up the epileptic editing and the unbearable firing of detail. The action in T3, on the other hand, is often captured in one round-up, in slow motion, resulting in both a magnificent visual aspect and a well-moving camera. Moreover, with some relief, I must say that the unbearable fragmentation of the second film and the ridiculous attempt to turn the Transformers into a metaphysical myth have disappeared. The third film is a completely pure Bay film - the first part is still carried in the classic robot score, the second one gets a little rougher and serves up a Bay-style alien invasion. You won't find greater tricks far and wide, and by finally appreciating the director's ability to tame a giant screen thanks to the epic whole, it must appeal even to hardened skeptics. Everything else is more or less useless, although some of the sub-jokes are good and pave the way for the film to establish a reign of heavy-weight pathos. All those heroic ceilings, compositions with stars and stripes, and due to bad dubbing even guilty pleasure pathos. This is Bay how the mainstream needs it. The last of the Mohicans of high-budget idiocy, protector of clichés, destroyer of invention. I could give 4*, but when I think back on the amused smile and slightly dropped jaw from the visual, T3 is exactly the kind of blockbuster that makes me appreciate things like Thor or X-Men: First Class. With all due respect, Mr. Bay: *** (2011.06.27)

Finishing epic trilogies is traditionally an ungrateful job. Michael Bay managed to bring Optimus, Bumblebee, and the other Autobots to the end of their journey in the weakest installment, but that is not a disgrace after the mesmerizing first film and the fairy tale-mythological sequel. The third Transformers are occasionally funny, occasionally less so, occasionally frightening, but above all, they are so grandiose from about one-third of the runtime that it almost tears apart all the senses. What unfolds in Chicago is an audiovisual experience that leaves the viewer stunned all the way home. But what elevated the entire trilogy for me is mainly the fact that this story was never about the largest number of scrapped metal. Yes, it will always be a battle between Autobots and Decepticons, but many people forget that amidst all the adventure, a young boy grew up. The one who first rode in a yellow Camaro three films ago and ultimately saved the world because of it. Three times. (2011.07.12)

I will divide Transformers 3 into three parts: 1) the dialogues, 2) the action set pieces (the motorway and the skyscraper), and 3) the remaining filler. Thumbs up for 2), but for 1) and 3) Bay deserves to have his ass kicked. Otherwise, I hope that this third part puts an end to this insult to science fiction (yeah, I know, I don’t have to watch it, but as a sci-fi fan, I was again unable to listen to the warnings that said: “Don’t watch this bullshit!”). (2011.12.29)

Less Bay, more Emmerich, or else, out of the frying pan and into the fire. But still easily the best part of the trilogy. And, despite the first half, where there’s a lot of “face-making doubling as humor". But in the second, purely action half, Bay pulled himself together in terms of editing and shaky camera, left out all the “jokey" moments (not even the parents or Turturro get a look after the switch to Chicago) and rolls out one epic scene after another, or rather one hour-long scene. Which is paradoxically a big problem, because so much happens at once and non-stop, without any calmer interjections for a rest, that after a few (ten, twenty...) minutes, you can’t help getting fed up and stupefied. And that’s a shame, because more than one part deserves to be relished; particularly the escapades during the escape from the collapsing skyscraper. Again a confirmation of the hackneyed expression that less is often more. (2011.06.29)