This poster, is by the usual standards of Hollywood graphic design, fairly mundane, but for its perspective: the viewer looks up from the base of a glass tower, toward its apex, which has been displaced by a burst of fire and smoke and glass. Four bodies are hurtling from the top of building, away from the fiery void, toward the ground. You didn't have to an employee of the Port Authority's PR office, an overly sensitive New Yorker, or even a mild-mannered concern troll to feel like you're huffing esters from the ashes of the World Trade Center by looking at this poster—even leaving aside the film's Australian release date [...]
What do Steven Spielberg, Steven Soderbergh, Loïc Prigent, Michael Bay, Ang Lee, Spike Lee, Brian De Palma, Guillermo Del Toro and Ridley Scott have in common? I cannot imagine you will easily guess.
Reality In the Age of Michael Bay, Neda, Alexa Chung, Andrew Sullivan, James Wood, Twitter, 2 Girls 1 Cup and the Digital Surround-Sound
"I was that kind of bored the other night, the kind of bored where you want to see things explode. The first time I saw the movie Armageddon, I saw it in a movie theater, which is of course because of technical reasons the best place to see things explode, the loudness of the speakers and the largeness of the screen more realistically representing what an explosion feels like than the average television set, or at least I assume so, having never actually felt an actual explosion in real life myself. "
There's a fascinating pattern in the first Transformers reviews: There is nothing to watch here, nothing to grab onto or hook into in even the simplest of ways. I staggered out of the theater feeling assaulted and insulted, but by the time I was standing out on 42nd Street in the muggy summer evening air, even those angry feelings had passed.
Richard Corliss agrees: "The final half-hour devolves into a kind of abstract-expressionist chaos, with commercials. Nothing coheres." At IndieWire, Eric Kohn complains that Michael Bay "constructs a barrage of showdowns remarkable for their ridiculous propensity to feature explosions and slo-mo, gravity-defying feats. They're all unmemorable but [...]
Michael Bay, I have personally viewed at least 60% of the content you have made as a director (slightly more than that, if you count the "Got Milk"? campaign and Meat Loaf's video for "I'd Do Anything for Love (But I Won't Do That)." So I'm qualified to observe that your work grows exponentially worse in expected, methodical patterns. Bad Boys II? Not as good as Bad Boys I! Armageddon? It followed the far superior The Rock! (And let's remember, The Island followed Bad Boys II, which, oh man, poor Ewan McGregor!) And I don't think the quality progression between the first two Transformers movies even needs to be [...]
On Friday, Michael Bay will give us another 164 minutes of 3D-IMAX robots riding robots riding robots as they blow shit up in America—Detroit and Chicago—and China—also Detroit, actually—while Mark Wahlberg has to grapple with the fact his name is Cade Yeager. A fete of more than just Bay's extraordinary vision for setting General Motors vehicles and American military hardware against perfectly golden sunlight shining over a canyon as they race from one Optimus Prime death scene to the next, Transformers 4: The Age of Extinction is both the nexus and the prototype of a new kind of cinema-industrial complex that spans from Hollywood to Beijing.
That's the focus [...]
"Nick Cage wasn't a big actor when I cast him," Transformers director Michael Bay tells the Wall Street Journal, "nor was Ben Affleck before I put him in 'Armageddon.' Shia LaBeouf wasn't a big movie star before he did 'Transformers'-and then he exploded. Not to mention Will Smith and Martin Lawrence, from 'Bad Boys.' Nobody in the world knew about Megan Fox until I found her and put her in 'Transformers.' I like to think that I've had some luck in building actors' careers with my films." Also, the robot testicles in Revenge of the Fallen are actually "construction balls." Now you know!