This is the only time I’ll go for this joke, but the first two series entries particularly emphasize the hardware, grit, and indomitable power of the American military in all its forms. Transformers (2007) The United States Military But it got us thinking: how bad is it, really? Is Bay’s ad placement any worse than David Fincher stuffing a garage full of Sony products in Gone Girl or any other obvious attempt to work synergy into a Hollywood film? Particularly in the years since The Island, Bay has become a friendly face to every brand that could possibly fold itself into one of his movies, a means of generating public recognition in one of the biggest international film franchises currently going. One of the more common refrains in talking about Bay’s exercises in bombast centers around the director’s signature penchant for flagrant advertising in his movies. Even if they’re not connecting with a lot of people at this point, they’re still connecting with a great deal more. But each film has also become a billion-dollar industry unto itself, and like it or not, this makes them a series of films worth interrogating at greater length. It’s easy to turn up one’s nose at the Transformers movies from the casual racism and sexism to the borderline-erotic obsession with shiny cars, Bay’s five movies in 10 years are basically everything a film critic hates in one easily mockable package. Michael Bay’s megahit franchise has managed the uncommon feat of becoming a film industry juggernaut while simultaneously turning into a punchline, an easy shorthand for intellectually bankrupt blockbuster filmmaking in the modern era. As you read this, Transformers: The Last Knightis careening into theaters to deliver another heaping pile of noise, clanging CGI gears, chiseled hunks, hot babes, and brand recognition to audiences around the globe.
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