I need to do something totally divergent, something without any explosions.

THR wrote:Racist robots?!
"Transformers" getting criticized for stereotyped characters

Harmless comic characters or racist robots?

The buzz over the summer blockbuster "Transformers: Revenge of the Fallen" only grew Wednesday as some said two jive-talking Chevy characters were racial caricatures.

Skids and Mudflap, twin robots disguised as compact hatchbacks, constantly brawl and bicker in rap-inspired street slang. They're forced to acknowledge that they can't read. One has a gold tooth.

As good guys, they fight alongside the Autobots and are intended to provide comic relief. But their traits raise the specter of stereotypes most notably seen when Jar Jar Binks, the clumsy, broken-English speaking alien from "Star Wars: Episode I — The Phantom Menace," was criticized as a caricature.

One fan called the Transformers twins "Jar Jar Bots" in a blog post online.

Todd Herrold, who watched the movie in New York City, called the characters "outrageous."

"It's one thing when robot cars are racial stereotypes," he said, "but the movie also had a bucktoothed black guy who is briefly in one scene who's also a stereotype."

"They're like the fools," said 18-year-old Nicholas Govede, also of New York City. "The comic relief in a degrading way."

Not all fans were offended. Twin brothers Jason and William Garcia, 18, who saw the movie in Miami, said they related to the characters — not their illiteracy, but their bickering.

"They were hilarious," Jason said. "Every movie has their standout character, and I think they were the ones for this movie."

In Atlanta, Rico Lawson said people were reading too much into the characters. "It was actually funny," said Lawson, 25, who saw the movie with his girlfriend in Atlanta.

That was the aim, director Michael Bay said in an interview.

"It's done in fun," he said. "I don't know if it's stereotypes — they are robots, by the way. These are the voice actors. This is kind of the direction they were taking the characters and we went with it."

Bay said the twins' parts "were kind of written but not really written, so the voice actors is when we started to really kind of come up with their characters."

Actor Reno Wilson, who is black, voices Mudflap. Tom Kenny, the white actor behind SpongeBob SquarePants, voices Skids.

Wilson said Wednesday that he never imagined viewers might consider the twins to be racial caricatures. When he took the role, he was told that the alien robots learned about human culture through the Web and that the twins were "wannabe gangster types."

"It's an alien who uploaded information from the Internet and put together the conglomeration and formed this cadence, way of speaking and body language that was accumulated over X amount of years of information and that's what came out," the 40-year-old actor said. "If he had uploaded country music, he would have come out like that."

It's not fair to assume the characters are black, he said.

"It could easily be a Transformer that uploaded Kevin Federline data," Wilson said. "They were just like posers to me."

Kenny did not respond to an interview request Wednesday.

"I purely did it for kids," the director said. "Young kids love these robots, because it makes it more accessible to them."

Screenwriters Roberto Orci and Alex Kurtzman said they followed Bay's lead in creating the twins. Still, the characters aren't integral to the story, and when the action gets serious, they disappear entirely, notes Tasha Robinson, associate entertainment editor at The Onion.

"They don't really have any positive effect on the film," she said. "They only exist to talk in bad ebonics, beat each other up and talk about how stupid each other is."

Hollywood has a track record of using negative stereotypes of black characters for comic relief, said Todd Boyd, a professor of popular culture at the University of Southern California's School of Cinematic Arts, who has not seen the "Transformers" sequel.

"There's a history of people getting laughs at the expense of African-Americans and African-American culture," Boyd said. "These images are not completely divorced from history even though it's a new movie and even though they're robots and not humans."

American cinema also has a tendency to deal with race indirectly, said Allyson Nadia Field, an assistant professor of cinema and media studies at the University of California, Los Angeles.

"There's a persistent dehumanization of African-Americans throughout Hollywood that displaces issues of race onto non-human entities," said Field, who also hasn't seen the film. "It's not about skin color or robot color. It's about how their actions and language are coded racially."

If these characters weren't animated and instead played by real black actors, "then you might have to admit that it's racist," Robinson said. "But stick it into a robot's mouth, and it's just a robot, it's OK."

But if they're alien robots, she continued, "why do they talk like bad black stereotypes?"

Bay brushes off any whiff of controversy.

"Listen, you're going to have your naysayers on anything," he said. "It's like is everything going to be melba toast? It takes all forms and shapes and sizes."

Ars wrote:Revenge of the Fallen is messy, unfunny, and way too long
Fans of the first Transformers movie found an enjoyable summer romp, but the sequel is so far over the top it loops back on itself and becomes nearly satirical. Loud, confusing, and unfunny, this is what happens when you film every negative impulse from Michael Bay, and then blow it up to IMAX prportions.

To lend some context to this review, I was a big fan of the first Transformers film. Sure, it was loud and the camera shook too much, but it was a great summer film and a solid take on the idea that alien robots wanted nothing more than to turn into Earth vehicles and fight each other. Peter Cullen came back to voice Optimus Prime, and just when the human characters became intolerable, there was another battle scene. I went into Transformers: Revenge of the Fallen with high hopes that this film would offer more of the same, and thinking the critics were merely being snobs when they panned it.

Boy, was I wrong. This is what happens when the first film in a series becomes a monstrous hit, and no one at the studio dares to say no to you.

The movie is over two-and-a-half hours long, and about half of the film could have been cut with no harm to the narrative, such as it is. You see the mother from the first movie eat pot brownies and go completely insane. Why? I have no clue. There is a female Transformer whose job it is to seduce Sam Witwicky, and in one scene she grows a tail. Why? So we can see her underwear. There are new Transformers, but they are introduced only to do nothing for most of the movie, and then die.

For some reason, in this film the Transformers spit... often. They spit on characters. They spit when they're talking. One character spits on two people in a lingering shot that shows how scary it is to have a menacing character spit on you. There are two new Autobots who seem to wrap up every racial stereotype from a nightmarish Larry the Cable Guy routine into horrific vocal and character design, and the movie gives them nearly as much time as Optimus Prime. One has a gold tooth.

The special effects may have been amazing in the first film, but they take a major step backwards here; the robots barely seem to interact with the space they're in, and rarely seem to be lit from the same light sources as the "real" characters. The answer to this seemed to be setting some scenes in completely computer-generated backgrounds and settings. The movie might as well have been animated in many places. A few revelations don't make much sense, either. The Transformers and Decepticons are machines—but they're grown in organic egg sacs?

The story makes very little sense, and introduces so many strands and subplots that by the end it's nearly impossible to care about anything. The humans pepper everyone with machine gun rounds for very little reason, as it never seems to do anything to anyone. The human characters have very little to do, and no reason to be near each other; there isn't a single relationship that is used for dramatic purposes in a believable way. Megan Fox reprises her role so she can stand around and look hot, jiggling in the appropriate ways when she runs endlessly in slow motion. During one scene, her new pet Decepticon humps her leg as she smiles at him. I guess we know where those egg sacs come from now.

We learn that Barack Obama dislikes the Autobots, and becomes something of a bad guy when he uses bureacracy to try to stop them. We learn that while StarScream is Megatron's lackey, Megatron is also the lackey of a character called The Fallen, who glowers menacingly throughout the film, and looks like a Lego Bionicle character gone tragically wrong. The movie is based on a line of toys, so there were plenty of parents who brought their young kids... who proceeded to cry every time one of the characters was brutally murdered. Remember, if you spray coolant and not blood, you get to keep your PG-13 rating!

By the end of the movie you're stuck in an interminable firefight where dozens of Autobots and Decepticons die, and you'll be trying to figure out which is which.

I tend to be a compulsive note-taker when I'm tasked with reviewing something, but nothing about the new Transformers film made me feel the need to get my pen out. I can barely remember anything about the movie hours later, other than it was loud and went on forever. I do have one, lone note: "parachute poop." The movie wants to point out that even machines have bodily functions, and it does so every chance it gets. At one point you see a robot's swinging testicles, and a character remarks on them. The audience laughs.

The editing is a mess, the jokes are low-brow, the racial humor is cringe-worthy, and the film meanders forever until we find out that the lion had courage all along. There is an item that can bring characters back to life, but of course it can't be used when it really counts. The end of the movie sets up the inevitable sequel, which will likely cost $1 billion, be filmed entirely in slow motion, and still not make a lick of sense.

Transformers: ROTF has mostly gotten pretty hideous reviews, but that's because people don't understand that this isn't a movie, in the conventional sense. It's an assault on the senses, a barrage of crazy imagery. Imagine that you went back in time to the late 1960s and found Terry Gilliam, fresh from doing his weird low-fi collage/animations for Monty Python. You proceeded to inject Gilliam with so many steroids his penis shrank to the size of a hair follicle, and you smushed a dozen tabs of LSD under his tongue. And then you gave him the GDP of a few sub-Saharan countries. Gilliam might have made a movie not unlike this one.

io9 wrote:Michael Bay Finally Made An Art Movie

Critical consensus on Transformers: Revenge Of The Fallen is overwhelmingly negative. But the critics are wrong. Michael Bay used a squillion dollars and a hundred supercomputers' worth of CG for a brilliant art movie about the illusory nature of plot.

Oh, and I would warn you that there'll be spoilers in this review — except that, really, since I still have no idea what actually happened in this movie, I'm not sure how much I can spoil it.

Since the days of Un Chien Andalou and The Cabinet of Dr. Caligari, filmmakers have reached beyond meaning. But with this summer's biggest, loudest movie, Michael Bay takes us all the way inside Caligari's cabinet. And once you enter, you can never emerge again. I saw this movie two days ago, and I'm still living inside it. Things are exploding wherever I look, household appliances are trying to kill me, and bizarre racial stereotypes are shouting at me.

Transformers: ROTF has mostly gotten pretty hideous reviews, but that's because people don't understand that this isn't a movie, in the conventional sense. It's an assault on the senses, a barrage of crazy imagery. Imagine that you went back in time to the late 1960s and found Terry Gilliam, fresh from doing his weird low-fi collage/animations for Monty Python. You proceeded to inject Gilliam with so many steroids his penis shrank to the size of a hair follicle, and you smushed a dozen tabs of LSD under his tongue. And then you gave him the GDP of a few sub-Saharan countries. Gilliam might have made a movie not unlike this one.

And the true genius of Transformers: ROTF is that Bay has put all of this excess of imagery and random ideas at the service of the most pandering movie genre there is: the summer movie. ROTF is like twenty summer movies, with unrelated storylines, smushed together into one crazy whole. You try in vain to understand how the pieces fit, you stare into the cracks between the narrative strands, until the cracks become chasms and the chasms become an abyss into which you stare until it looks deep into your own soul, and then you go insane. You. Do. Not. Leave. The Cabinet.

Michael Bay understands that summer movies are about two things: male anxiety, and pure id. That's why he casts Shia LaBoeuf, that supreme avatar of pure male inadequacy, in the lead role. LaBoeuf projects a pathetic, wall-eyed dorkhood, when he's not babbling like a tumor removed from Woody Allen's prostate that somehow achieved sentience. I imagine the DVD of ROTF will include a whole disk of outtakes where they had to stop filming because LaBoeuf was drooling on camera. As it is, the film includes several extreme closeups of LaBoeuf's dazed stare.

Where was I? Oh yes. So LaBoeuf, who's actually a fine actor, is the stand-in for the male viewers' greatest fears about themselves. No matter how great a loser they might be, they can't be as losery a loser as Sam Witwicky. And yet, Sam has awesome giant robots stomping around telling him he's the most important awesome person ever. And he has the hottest girlfriend in the universe, Megan Fox, for whom banality is a huge aphrodisiac. The more pathetic Sam gets, the more Fox's lips pout and her nipples point, like little Irish setters.

To make matters more awesome for the insecure males in the audience, Sam actually tosses aside his giant robot fanclub and his walking-pinup girlfriend, so he can have a normal life. Of course, this only leads to other robots and hawt chicks (who turn out to be robots too) throwing themselves at him and telling him how important he is. In the end, everybody learns to appreciate Sam just a bit more than they already did, and a booming voice tells him he's earned the "matrix of leadership" through his courage and stuff.

And then there's the "id" part, which is the part where stuff blows up real good, and huge machines smash each other up. And every single performance is so ridiculous that it looks down on "over the top" as if from a great height. It's the part of your brain that thinks it would be awesome to see robots with giant dangling testicles, or hot chicks turning into robot tentacle monsters, or "ghetto" robots that talk in inept hip-hop slang and smash each other playfully, or funny Jewish men who talk about their "schmear" and randomly strip to their G-strings. Is that going too far? Then let's go 100 times farther than that and see what happens!

Transformers: ROTF is so long, you'll need to wear adult diapers to it. But the movie's pure celebration of the primal urge, and unfiltered living, will make you rejoice in your adult diapers. You'll relieve yourself in your seat with a savage joy, your barbaric yawp blending in with the crowd's screams of excitement.

And yet — and here's the part where I really think ROTF approaches "art movie" status — the movie's id overload reaches such crazy levels that the fabric of reality itself starts to break down. Michael Bay has boasted about how every single shot in the movie has so much stuff going on in it, it would take your PC since the dawn of time to render one frame. After a few hours of this assault, you feel the chair melt and the floor of the movie theater becomes an angry mirror into your soul. Nothing is solid, nothing is real, everything Transforms.

The closest thing I can think of to this movie is the Wachowskis' Speed Racer, which had a similar kind of CG image overload, although it was only five hours long as opposed to ROTF's nine.

And around hour six of ROTF, something curious happens: the two components — male enhancement and pure id — start to clash, badly. Usually, in a summer movie, the two aspects go together like tits and ass: Jason Statham plays someone who faces the same insecurities as regular dudes, but he overcomes them, and in the process he blows up everything in the world. But creating that kind of fusion requires enslaving the id to the male enhancement, and that in turn means only going way over the top instead of crazy, stratospheric over the top. Michael Bay is not willing to settle for going way over the top, like other directors.

So you have a movie that tries to reassure men that they can actually be masters of their reality — but then turns around and says that actually, reality is not real. There's no such thing as the "real world," and the only thing that's left for men to dominate is a nebulous domain of blurred shapes, which occasionally blurt nonsensical swear-words and slang from ethnic groups that have never existed. If you're drowning in an Olympic swimming pool full of hot chewing gum fondue, do you still care if Megan Fox likes you?

So yes, ROTF approaches the sublime, and then just keeps rocketing. Next stop: total anarchy. In a sense, it's the first war movie ever to convey a real sense of the fog of war, the confusion that comes with battle. Somewhere around hour nine, you will understand why friendly fire happens in wartime.

So I've gotten almost all the way through this review, and I still haven't summarized the movie's plot. Here goes. It's a couple years after the first movie, and Sam is going off to college, leaving his transforming car and his hot girlfriend, whom he still hasn't told he loves her. And meanwhile, the soldiers from the first movie are running around with a bunch of late-model GM cars and trucks, which turn into robots and fight other robots sometimes. Sam sees weird symbols which make no sense (and they still make no sense at the end of the movie) and they turn out to be the key to the location of a thing that can control another thing, that will enable the bad guys to destroy the sun. Sam has to embrace the heroic destiny he's rejected, so he can save us all from solarcide.

But that bare plot summary doesn't include the twenty or thirty other storylines that could also claim to be the movie's plot. There's the whole thing where someone from Washington D.C. wonders why the U.S. military is running around the globe with a bunch of late-model GM cars from outer space, and tries to put the kibosh on the military-Autobot complex. There's the teenager who's got a conspiracy website, that competes with another conpsiracy website which turns out to be the work of a secret agent who's decided that the best way to keep things secret is to put them on a website. (It works. I post secret stuff on io9 all the time.) Various robots die and then come back to life, and there's a whole strand about whether Decepticons (the bad ones) can become Autobots (the good ones). And there's the Fallen, who's sort of the movie's villain even though he barely shows up. And people from 17,000 BC who had weird teeth and fought robots. And the ancient Egyptians did stuff. And Sam's parents go to France except that they meet a robot and then they're in Egypt.

Really, I could go on and on. This movie starts out with a coherent storyline, for the first half hour or so, and then it just starts to spin faster and faster until the centrifuge of random events slams you into the walls. It doesn't help that there are 500 robots in the movie and they all look kind of the same.

Oh, but that's the other thing about ROTF. It's actually quite funny, a lot of the time. Some of the jokes fall flat, like the "twin" robots with the ghetto speak, and a lot of the stuff with John Turturro. But the movie's relentless silliness is mostly pretty hilarious, in a Saturday morning cartoon kind of way, and almost nothing in the movie seems intended to be taken seriously.

So, to sum up: Transformers: Revenge Of The Fallen is one of the greatest achievements in the history of cinema, if not the greatest. You could easily argue that cinema, as an artform, has all been leading up to this. It will destabilize your limbic system, probably forever, and make you doubt the solidity of your surroundings. Generations of auteurs have struggled, in vain, to create a cinematic experience as overwhelming, and as liberating, as ROTF.

Women as well as men, everyone watching this film will feel the dissolution of all their certainties, all their illusory grasp on the world... but after you fall into a brazen despair that the walls of reality have become toxic ice cream of a million flavors, you will gasp with a greater realization: that once the world is reduced, forever, to a kaleidoscope of whirling shapes, you are totally free. Nothing matters, effect precedes cause, fish spawn in mid-air, and you can do whatever you want. Let yourself go in your adult diaper, Michael Bay invites you. Feel the music of total excess stir inside your deepest core. It is your Allspark, your cube. And you are a Transformer.

WENN wrote:Labeouf 'Not Impressed' By Transformers Sequel

Transformers star Shia Labeouf has stunned fans of the action franchise by revealing he wasn't a fan of the blockbuster sequel Revenge Of The Fallen.

Labeouf became a worldwide action hero after starring in the first Transformers movie in 2007, which topped box office charts around the globe.

Its success prompted movie bosses to go bigger for the second installment, but Labeouf admits he wasn't impressed by the film's focus on daredevil stunts.

He tells the Associated Press, "When I saw the second movie, I wasn't impressed with what we did. There were some really wild stunts in it, but the heart was gone."

Labeouf will return to the franchise for Transformers 3, which is set for a 2011 release.

"I wasn't impressed with what we did.... There were some really wild stunts in it, but the heart was gone. We got lost. We tried to get bigger. It's what happens to sequels. It's like, how do you top the first one? You've got to go bigger.... Mike went so big that it became too big, and I think you lost the anchor of the movie.... You lost a bit of the relationships. Unless you have those relationships, then the movie doesn't matter. Then it's just a bunch of robots fighting each other."

TC wrote:her sole purpose in the film was showing her ass and running bent at the waist so as to jostle her tits around as much as possible in slow motion. not that this is a bad thing,