Transformers: The Last Knight (2017)
Directed by Michael Bay
Humans and Transformers are at war. Optimus Prime is gone. The key to saving our future lies buried in the secrets of the past, in the hidden history of Transformers on Earth. Saving our world falls upon the shoulders of an unlikely alliance: Cade Yeager; Bumblebee; an English Lord; and an Oxford Professor.
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Made by Bay on autopilot between attempting to stretch himself with films like Pain & Gain and 13 Hours: The Secret Soldiers of Benghazi , scripted with indifference by a bevy of writers including credited screenwriters Art Marcum (Iron Man), Matt Holloway (Punisher: War Zone) and Ken Nolan (Black Hawk Down), the sequel is all whiz and all bang augmented by nothing substantive whatsoever.
The plot is beside the point, yet screenwriters Art Marcum & Matt Holloway (2008's " Iron Man ") & Ken Nolan (2001's " Black Hawk Down ") feel the need to provide lumbering exposition at every turn?so much exposition, in fact, one begins to question if reality has been replaced by a seemingly never-ending nightmare of déjà vu.
It's an inherently stirring premise that could've, in the hands of a competent director, translated into a searing war flick along the same lines as Saving Private Ryan or Black Hawk Down, with the movie instead, virtually from the word go, striking all the wrong notes and relying hopelessly on the hoariest cliches of the genre.
Anyway, “The Last Knight” script is credited to the “Iron Man” duo of Art Marcum and Matt Holloway, as well as Ken Nolan (“Black Hawk Down”).
Instead of limbs being tossed in there, he’s throwing in movies and TV influences like “Force Awakens,” “Kingdom of Heaven,” “2012,” “The Fellowship of the Ring,” “The Abyss,” “Green Lantern,” “Indiana Jones and the The Last Crusade,” “The Da Vinci Code,” and “Game of Thrones.”
And let’s face it, that basic conceit – the Illuminati, but with giant robots – is kind of beautiful in its audacious stupidity, even if its only narrative payoff is a search for a MacGuffin that feels like what you’d get if you asked Koko the Gorilla to rewrite The Da Vinci Code.
The two bicker and pout through a plot that’s like “The Da Vinci Code” crossed with a “Terminator” sequel on Jolly Rancher candies, and they’re accompanied by Sir Anthony Hopkins , who plays Sir Edmund Burton, an elite astronomer who guides the events, but is really on hand as a kind of aging mascot of the happily unhinged.
Instead, like fickle kids playing with toys, they've sidelined them to foreground a human-centric story that evokes National Treasure and its ilk.
He starts the movie with his version of King Arthur and ends it with his version of Independence Day: Resurgence, wiping the floor with both movies in the process.
Anyone walking unawares into this fifth installment of Michael Bay’s mindlessly bombastic franchise based on the Hasbro toy line might think that he’d stumbled into a screening of Guy Ritchie’s bomb “King Arthur” by mistake.