Transformers: Rise of The Beasts
Transformers: Rise of The Beasts Movie Review: A breathtaking sunset, the return home of Captain Lennox, Sam, and Mikhaela finally together after the crazy adventure they had, the powerful voiceover of Optimus Prime and Linkin Park introducing the end credits. "What I've done?" Michael Bay probably wondered that June sixteen years ago, after delivering the first chapter of The Transformers to the world.
It was 2007, it was Shia Labeouf with Megan Fox, Optimus vs Megatron, and the Marvel Cinematic Universe had yet to enter the postmodern cinematic landscape. Today, while Hollywood is witnessing the dawn of a fifth phase of the MCU, Bay's robots - although orphaned of their creator - are back on the scene by force. A prequel/reboot of Rise of The Beasts (?) which, entrusted to the hands of Steven Caple Jr. (Creed II), follows the successful Bumblebee of 2018.
Transformers: Rise of The Beasts Movie Plot
Set in New York in the early 90s, Transformers – Rise of The Beasts, the seventh piece of the saga, introduces the character of Noah Diaz (Anthony Ramos), a former military expert in electronics who lives in Brooklyn with his mother and younger brother. One night the boy comes into contact with the Autobots Mirage, Optimus Prime, and Bumblebee, and with Elena Wallace (Dominique Fishback), a young researcher at a natural history museum.
These are just the beginning of a long journey that will lead Noah and Elena to the other side of the world, involved in a war between the Autobot, Maximal, Terrorcon, and Predacon factions, in an epic battle against the fearsome Unicron for the salvation of the planet Earth.
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Transformers: Rise of The Beast Movie Analysis
Transformers, however, as the mantra of the saga likes to repeat, has always hidden "more than what we saw". The operation itself is actually the result of a vision, of the combined lighting of two authors such as Bay and Spielberg; with the former capable from the first moments of grasping part of the intuitions of the latter and converting them into a personal, robotic war of the worlds.
Today, although stripped of the direction of the explosive American filmmaker - now producer, the franchise has not lost its Spielbergian inspiration. And if Bumblebee "impersonated", not too covertly, an E.T. of the 21st century, the adventurous contaminations à la Indiana Jones in the Rise of The Beasts are explicitly "denounced" by the protagonist of the work himself.
Once again, however, Bay's poetics/legacy dominates the scene, which, reread in retrospect, still retains the lightning flash of the year 0 of the Transformers. A poetic aimed at the mechanization of the imaginary; within a universe in which, given the mutual permeability between men and robots - merged into the (for now) integral transhumanism of the Noah-cyborg of the Rise of The Beasts - even the cinematographic image can only undergo the same process. Just as man does not create the machine, but merges with it according to a harmonious and almost inevitable complementarity, the same does the image. In an indivisible whole.
For Bay everything is machine and everything is human. And in a world that thinks more and more artificially, all that remains is to wonder if Cybertron is by now something more than a remote celestial body evoked by the imagination of a narrator. Posterity will judge.
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