Greens are teeming with life and intense energy while the blues in lights, the eyes of Autobots and the sky are sumptuous and electrifying. Shia LaBeouf , Josh Duhamel , Tyrese Gibson and John Turturro reprized their roles. Needless to say, however, the real treat comes during the action scenes. Dark of the Moon is hands-down one of the absolute greatest movie spectacles of all time. Everyone now, a big sigh of relief, and in harmony, please.
Nevertheless, by the time we come to the ridiculously titled Dark of the Moon, moviegoers know full well what they're walking into. Whether real or digital -- human faces, clothes, rubble, intricate robotic pieces, frayed and broken metal objects, scratches and dents, or common little background elements like the texture of a brick wall or paint flaking off an old door -- there's no shortage of glorious eye candy to be seen throughout. Dark of the Moon practically places audiences in the middle of one of the most chaotic hours of action movie ever created. It's not an all-time great movie, of course, and it's not even quite as good as the original, but in terms of sheer entertainment value, seamless and absolutely believable special effects, total audio immersion, and pure fun factor, it's an unequivocal success. It's an awe-inspiring display of digital trickery and technological advancement, leaving audiences to wonder just how it could -- and no doubt will -- be topped in the future, not to mention the possibilities in different applications.
It turns out such was just the case in the space race. The core Transformers story as it is constructed and furthered here is quite involved, very interesting, and a pleasure to watch unfold, but it's slowed down and lessened by needlessly long stretches where only a sliver of information requires minutes upon minutes of random nothingness to become revealed. The pacing is further hindered by forced comic relief, but as noted it's nowhere near as nauseating or even offensive as it was in Revenge of the Fallen. Light rain and a clap of thunder play in the background during Sam's first scene in the movie. Paramount's Blu-ray release of Transformers: Dark of the Moon delivers flawless video and audio -- did anyone expect less? However, for those who don't want a 3D copy and who couldn't care less about extras, this disc is as good as it gets.
It's almost as if someone high up on the Transformers food chain demanded the movie clock in at about 150 minutes, resulting in far too much stuff -- on both ends of the movie -- that just isn't necessary. However, it does come with its share of softer, less satisfying moments, likely related to the stylized photography, and there are some very mild, mostly negligible instances of shimmering along the sharpest edges. O cineasta Michael Bay, que comandou todos os filmes da franquia, garante que este será seu último Transformers. It could have been better, sure, but this is a marked improvement over Revenge of the Fallen. The new villain Shockwave is on the scene while the Autobots and Decepticons continue to battle it out on Earth. They're called to the radioactive ruins of Chernobyl to investigate the suspected presence of alien technology. Michael Bay is at his personal best in this stretch, too.
It is the 15th highest grossing in history. That's really the movie's main problem in a nutshell. No crush, no hint of gray, just solid and natural in every dark corner. Black levels are absolutely flawless, too. Sure the low end rattles and bass rumbles, but it's the spacing, clarity, and perfect maneuvering of each and every sound, no matter how prominent or how tiny and supportive in nature, that make this one a real success of sound engineering. The acting is nothing special but is certainly adequate, though the performances of the film's primary and secondary characters -- even by series newcomers like Patrick Dempsey, Alan Tudyk, John Malkovich, and the venerable Frances McDormand -- are simply overshadowed by the digital effects. The rest of the soundstage exhibits impressive fluid movement and channel balance, as a variety of atmospherics convincingly extend into the off-screen space.
Its frontal delivery is seamless across each main channel, supported by just the right level of surround speaker activity. Every musical note, every sound effect, every line of dialogue is so pristine, so natural, that there's never a moment where the audience isn't completely immersed in Michael Bay's chaotic world. The Autobots and Decepticons become involved in a perilous space race between the United States and Russia to reach a hidden Cybertronian spacecraft on the moon and learn its secrets, and once again Sam Witwicky has to go to the aid of his robot friends. But there's never a dull moment in the life of Sam Witwicky, and sure enough the recent Autobot discovery of their former leader and the radically advanced pillars -- not to mention a few other surprises coming Sam's way -- just might work into a devious plot that could spell the end of mankind. The movie begins with a heavy pulsating electronic sensation as the Paramount stars fly on by and through the screen.
The Autobots and Decepticons become involved in a perilous space race between the United States and Russia, to reach a hidden Cybertronian spacecraft on the moon and learn its secrets, and once again Sam Witwicky has to come to the aid of his robot friends. Not to worry, though, that's exactly what the movie should be: a parade of special effects that break new ground with every click of the mouse, every save to the hard drive. I loved you in 'Fargo! The movie's first half threatens to bore the audience to death -- there's just too much filler -- but it's nothing but pure adrenaline the rest of the way. Goodness, when did home theater audio get this good? The film and its soundtrack instead strive for accuracy, stability, naturalism, and immersion over absolute power. Nevertheless, it's all perfectly seamless. Meanwhile, recent college grad Sam Witwicky Shia LaBeouf has a new girlfriend, Carly Rosie Huntington-Whiteley , but not a new job.
The franchise's most ardently loyal followers prescribe to a type of adoration that readily disregards each movie's deficiencies, gladly forgives the wealth of blunders in each plot and willfully turns a blind eye to the blatant flaws within the filmmaking. Random objects and debris during battles pan into the surrounds or move towards the screen with flawless effort as if actually flying across the room. In the United States and Portugal, the film was released in advance for June 29, and is also the first film in the series to be produced in 3D. The new villain Shockwave is on the scene while the Autobots and Decepticons continue to battle it out on Earth. He may take a lot of flak -- some of it maybe justified, some of it perhaps no so much -- but there's absolutely no denying his pure skill as an Action filmmaker. Transformers: Dark of the Moon is a tale of two movies.
Colors, likewise, enjoy a natural vibrancy that's reserved for only the finest Blu-ray images. Updated daily and in real-time, we track all high-def disc news and release dates, and review the latest disc titles. But most of that is easy to overlook when appreciating the improved contrast levels, providing the 2160p video with an energetic pop. Clarity is out-of-this world good, and there's a natural depth to the image, evident even without the added dimension for the 3D presentation. The Autobots and Decepticons become involved in a perilous space race between the United States and Russia to reach a hidden Cybertronian spacecraft on the moon and learn its secrets, and once again Sam Witwicky has to go to the aid of his robot friends.