“Bad Boys II” (2003)
Bay had won several battles with studios, stars and marketing departments on the way to massive box office success. To him, the very public rejection of “Pearl Harbor,” the one Bay picture regarded as a failure because of its signature Bay-isms, was a sign. ‘Retreat, reload, and come back meaner’ seemed to be his motto, and with “Bad Boys II” he returned with guns blazing towards proper etiquette and good taste. With a blank check from Disney, working with the sequel to a barely-remembered action hit, “Bad Boys II” represents the definitive Bay experience. Though Marcus and Mike had returned, Marcus was notably more manic and minstrely (the puffed-up Martin Lawrence looking the worse for wear) while his partner, now played by the much-bigger star in Will Smith, was sexed-up and sociopathic. On the trail of a massive drug ring, the two cops, with a seemingly limitless budget, blast through and kill hundreds of perps in the isn’t-this-awesome style of Bay’s empty extravagance. Everything about “Bad Boys II” is excessive, gaudy, tacky and ultimately soul-murdering, as we are meant to cheer two maniacs who would “jokingly” threaten one of their daughter’s comely pre-teen dates with a gun as they tear Miami, and then Cuba, to pieces, including a row of favelas in a bit that directly apes “Police Story.” But to bash “Bad Boys II” is to bash a certain sensibility, as this blockbuster sequel is complete, unfiltered Bay, with loaded sequences of homophobia (an intimate dialogue scene is played for gay panic), racism (the only non-criminal Hispanic characters are the butt of jokes) and sexism (an extended scene of Marcus fondling a buxom corpse). It’s also loaded with some of the giddiest, most insane practical action sequences seen in the modern action era, as Bay and his effects team toss cars freely against each other, shooting gruesome, gory shootouts and car chases with the gusto and clarity missing from every action filmmaker currently working. In the end, “Bad Boys II” is so toxic that it can wear the title of Most Violent Movie Ever Made, both in regards to explosions and bullets as well as in regards to the human spirit. Even with the extended moments of non-stop violence, a sequence where a young raver’s dead body is carelessly tossed to the pavement introduces Diddy’s “Shake Your Tailfeather” says everything you need to know about “Bad Boys II.” [C-]
“The Island” (2005)
The only true “bomb” (the film was deemed as such despite recuperating its $126 million budget, earning $162 mil worldwide) in Bay’s filmography may well be the most interesting film he’s made so far. A cobbling together of various sci-fi tropes lends credibility to this big-budget chaser when two clones (Ewan McGregor and Scarlett Johansson) break out of captivity and escape to an unpredictable world beyond, where their counterparts are alive and well. Meanwhile Sean Bean’s cold-hearted moneyman harvests the organs of conscious clones and Djimon Hounsou fills the thankless shoes of a mercenary out to kill our leads. Bay dials back the aesthetic just enough to tell a simple story unnecessarily complicated by occasional tech brogue (the Caspian Tredwell-Owen/Kurtzman/Orci script was solid enough to land them the ‘Transformers‘ gig). There are still perfectly lush images (the Thin White Duke would probably shed a tear at the sight of the impeccable surgical lab), but for the first time, the plot is not manhandled and left crying in a corner. Credit goes to McGregor and Johansson in making our leads relatable and their high octane journey steeped in the minimum emotional requirements. While horny fanboys decry the lack of Johansson nudity (the actress dourly noted that Bay turned down her request to get naked), the film can stand on two feet without it, and for Michael Bay, that’s an honest step forward. [B-]
“Transformers” (2007)
It’s a movie about space robots based on a popular ’80s toy– if we tried to debate the merits of story and character of Michael Bay’s “Transformers,” we’d be here all night. Can’t we just appreciate the hulking, metallic heap of cinematic candy? If we’re gonna get cavities, we might as well enjoy the process. Despite the fact that his films are morally questionable (at best) and he struggles to portray characters beyond cartoonish stereotype, it’s impossible to deny that they aren’t artfully made, and stamped not only with his signature style but a consistent aesthetic look all their own (that rapidly becomes widely copied). And in a world of shoddy CGI, Bay imbues his special effects with his reverence for the practical: the Autobots and Decepticons clank and whir and hum with the weightiness of real machinery, and his manipulation of the light with sand, smoke, sweat and shiny, shiny chrome keeps everything rooted in his typical visceral hyper-reality, instead of some dull, washed out computer world. His keen visual sense of storytelling means that even in the chaos of robotic eyeball assault, there’s a clear sense of space and timing, leaving room for performers like Shia LaBoeuf to fill in the spaces in his machine-fetishizing sequences with riffs and wit (though they often badly need reeling in). Bay does right by fans of “Transformers” by treating the material seriously and with an epic scope, and most importantly, delivering an entertaining flick. That’s not to say the same about the second… [B-]
