Transformers One is a pleasant (if unimaginatively animated) surprise with palpable heart

As a child of the ’80s who grew up with the Transformers cartoons and toys, I have to say that “Transformers One” has a special place in my heart. The film successfully captures the mythic quality of Optimus Prime and Megatron that we all remember from our childhood, and it’s refreshing to see a movie that finally focuses on the robots themselves.

“I’m Wang. Deep Wang.”

“No whoopee, Mr. Cade?”

“Hey, Professor, I’d do anything for an A!”

Here are some lines from the live-action Transformers movies that humans are known for, although their focus seemed more on bro comedy than delving into the origins of the automatons. John Turturro’s line, “Tell Megatron, let’s tango,” is an exception and is quite entertaining. Unfortunately, many human characters either caused boredom or an unsettling “Romeo & Juliet law” scene. When Transformers were on-screen, these aliens were characterized by aggression and widespread destruction. Across five original movies, Optimus Prime’s most notable trait was his fondness for decapitating enemies.

2018’s Bumblebee movie proved that a modern Transformers film didn’t have to be a painful experience. Now, Transformers: One has hit the screens, truly showcasing the creative potential of this epic saga. With no humans around to complicate things, the script is all about developing those iconic robots as characters. In other words, it’s their time to shine!

Following a discussion about Cybertron’s past and a swift chase sequence, the Transformers One script by Eric Pearson, Andrew Barrer, and Gabriel Ferrari transitions to a more tranquil scene. The camera zeroes in on future iterations of Optimus Prime (Chris Hemsworth), initially known as Orion Pax, and Megatron (Brian Tyree Henry), originally named D-16, engaged in a simple conversation while on a train. Unlike the necessity to battle a massive antagonist to maintain younger viewers’ interest, this script prioritizes subtle dialogues to create engaging characters. This focus on quiet interactions allows audiences to appreciate the enduring friendship between the optimistic Pax and rule-abiding D-16. This dedication to intimacy offers a deeper understanding of their long-standing bond.

In the city of Iacon, these two robots differ greatly, especially in their explorations beyond the city limits. Yet, they always watch each other’s back. Having friends is crucial in Iacon, a place with a strict social hierarchy, with leaders like Sentinel Prime on top and non-transforming bots like Pax and D-16 considered disposable. However, the unlikely duo from the Transformers series, along with B-127 and Elita-1, might just alter their destiny. By chance, they uncover potential coordinates for a sacred artifact and embark on a dangerous expedition. If successful, this mission could win them favor with Sentinel Prime. During this adventure, Pax and D-16 learn about friendship and loyalty…and that sometimes friends can become foes.

Hooray for Transformers One, it skillfully sidesteps the traps common in other origin films. Unlike traditional prequels such as the Fantastic Beasts series, Oz the Great and Powerful, or the Star Wars prequels, which primarily serve to establish a foundation for stories you’re already familiar with at the expense of individual character development, Transformers One appears to exist in its own continuity distinct from the previous live-action Transformers movies. Instead of being a prelude to a movie you’ve seen countless times before, Transformers One is more similar to Rise of the Planet of the Apes. It presents an engaging self-contained story set in the early days of a familiar world, offering much more enjoyment than lengthy explanations about how characters like Yoda and Chewbacca became acquainted.

The screenplay by Pearson, Barrer, and Ferrari is enriched by the dynamic between Pax and D-16. This strong emotional foundation for the story is amplified by Brian Tyree Henry’s vocal performance. Unlike imitating Frank Welker or Hugo Weaving’s portrayals of this Decepticon, Henry gives D-16 a voice that echoes his own, adding remarkable human qualities to the robot. When D-16 shows concern about demotion or feels raw anger due to betrayal, it’s not a repetition of past performances, but rather a unique portrayal shaped by Henry’s acting decisions. This fresh approach makes D-16 feel like a distinct character, separate from previous representations in the Transformers universe. Henry’s exceptional performance even includes a monologue that mirrors the emotional turmoil he embodied in his memorable kitchen speech from If Beale Street Could Talk.

In my gaming world, experiencing the unexpectedly emotional depth of Henry’s D-16 performance in “Transformers: One” was just one of many delightful twists. Another aspect that truly resonated with me was the lack of excessive irony throughout the movie. Orion Pax, this robot character, felt like a more energetic version of Paddington Bear, always ready to show kindness towards others. There’s no doubt in my mind that he’s portrayed as a sincere do-gooder. What made this story even more enjoyable was the inclusion of heartwarming scenes centered around working-class robots banding together. Whenever I see a movie that evokes the tender moments from Sam Raimi’s “Spider-Man” films, I can’t help but feel a sense of joy.

Although there are still a few snarky remarks that might make you cringe in the script, such as B-127’s observations about ominous caves or robots with “wave” in their names, Cooley handles the majority of emotional moments quite seriously. The suspenseful scenes, like the collapsing mine or robot battles, are portrayed without excessive humor that detracts from the tense atmosphere. This style gives a powerful impact to grand spectacles, such as our main characters dodging lasers from an overhead alien spaceship.

In addition, aspects of the movie “Transformers One” are also advantageous, as it vividly portrays parallel scenes in the third act where Pax and B-16 shape their later identities as Optimus Prime and Megatron respectively. Without revealing any spoilers, these scenes effectively convey to viewers why other robots will eventually whisper their names with reverence. The sequences have a near mythical aura due to Cooley’s decision to let the drama unfold gradually. Moreover, B-16 receiving such significant scenes (offering insights into his character) demonstrates the film’s empathetic perspective. “Transformers One” skillfully encourages viewers to care about the robot who eventually becomes Megatron. This emotional investment is difficult to resist.

Unfortunately, the visual agility in Transformers One isn’t as striking as its narrative prowess. Industrial Light & Magic, known for their work on Rango and Strange Magic, is responsible for the animation here, making it their third fully animated project. The rich backdrops, such as Sentinel Prime’s golden abode, and more stylized elements, like jagged crystals rising from the ground reminiscent of Fantasia 2000 butterflies, are well-executed. However, the Transformers themselves fall short in terms of design. Characters like Sentinel appear overly sleek and plastic, as if they’ve stepped out of a Batwheels episode. The attempt to give these robots lips is somewhat hit or miss. The contrast between metallic beings and soft, clay-like mouths feels a bit incongruous.

In a world post-“Spider-Verse,” “Mutant Mayhem,” and “Mitchells vs Machines,” it’s unfortunate that “Transformers One” largely neglects the intriguing, hand-drawn animation style that characterizes these films. While “Transformers One” does incorporate elements reminiscent of this trend – such as Soundwave emitting frequencies visualized as on-screen waves like Aquaman communicating with sea creatures, and a pair of evil robot eyes moving around like a laser pointer – the majority of character designs and backgrounds fail to embrace expressive or impressionistic qualities. The visuals are competent, but they fall short of tapping into the boundless imaginative possibilities that the concept presents.

Revisiting the plot, it shares some equally irritating flaws. Notably, the narrative flow in “Transformers One” stumbles between crucial plot developments and settings. Remarkably, the film makes its leads unconscious on two occasions within roughly ten minutes to reposition certain narrative elements off-screen! Furthermore, after nearly 20 years of the “Transformers” movie series, we haven’t seen a compelling female robot character yet. Elita exists either to advance Optimus Prime’s storyline or act as a foil for comedic male characters. The intricate aspects of female robots like Arcee from the IDW comics remain unrealized in the “Transformers” films. I wish we could see one of these female bots with the vibrancy of Rachel Sennott or Patti Harrison!

The first “Transformers” film isn’t like “Spider-Man: Into the Spider-Verse” or “Teenage Mutant Ninja Turtles: Mutant Mayhem.” In the cinema, it can be tough to connect with its narrative. However, “Transformers One” offers a lot of exciting sci-fi entertainment. As a child, I often pondered what a “Transformers” movie would look like if it ignored those bothersome humans. Couldn’t they simply create a film centered around the robots talking? Wasn’t it plausible that these machines had captivating personalities? It seems Hollywood has finally heeded 13-year-old Lisa’s call, and the result is an impressive movie, despite the fact that the animation in “Transformer One” falls short of delivering the finesse or impact.

2024-09-17 15:15

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