During its rather explosive 11 year run, the Michael Bay-helmed Transformers film franchise hasn’t exactly developed a particularly stellar cinematic legacy, with most productions being widely regarded as crass, noisy, explosion-filled, soulless Hollywood drivel with no shortage of puerile sophomoric humour and scantily clad girls draped over car bonnets. For the longest time, this was the status-quo for this franchise, to the point that I’d stopped caring about investing my money in seeing these films at the cinema by the time ‘The Last Knight’ rolled around. This simply boils down to the fact that since 2009, the mere act of watching Bay’s transformers films, with all their typical tempestuous bombast, incoherence and shameless product placement was in itself an exhaustive and mentally-draining endeavour in and of itself. This speaks volumes of the sloppiness and utter creative emptiness that Bay had invested into these films, and the knowledge that a big budget Hollywood media franchise is comfortable to reduce itself to such a state is utterly soul-destroying for modern cinema as a whole.Read More
I can’t overstate it enough. Guillermo del Toro is one of those directors who’s signature aesthetic style of his productions is something I have a tremendous personal adoration for. His more commercial productions including the Hellboy films and Pacific Rim were simple, yet fun and well-executed for what they were. But while they may have attracted me to his visual style initially, what had garnered a much more profound fascination in me for del Toro’s work were his more ‘artistic’ productions that delve into certain historical backdrops and deftly intertwine and manifest certain conflicts and anxieties of said historical period with his own oddball blend of atmospheric dark fantasy and gothic horror.