Transformer 2 is greater than Transformer 1. So if you are a fan of  Transformer, please remember to support it by going to watch it in the cinema. Have fun and enjoy yourself! Don’t forget to transform yourself to a hardworking boy after watching it. Bye and see you again in the cinema.  “AUTOBOT… TRANSFORM!”

Since the days of Un Chien Andalou and The Cabinet of Dr. Caligari, filmmakers have reached beyond meaning. But with this summer’s biggest, loudest movie, Michael Bay takes us all the way inside Caligari’s cabinet. And once you enter, you can never emerge again. I saw this movie two days ago, and I’m still living inside it. Things are exploding wherever I look, household appliances are trying to kill me, and bizarre racial stereotypes are shouting at me. Transformers: ROTF has mostly gotten pretty hideous reviews, but that’s because people don’t understand that this isn’t a movie, in the conventional sense. It’s an assault on the senses, a barrage of crazy imagery.

And the true genius of Transformers: ROTF is that Bay has put all of this excess of imagery and random ideas at the service of the most pandering movie genre there is: the summer movie. ROTF is like twenty summer movies, with unrelated storylines, smushed together into one crazy whole. You try in vain to understand how the pieces fit, you stare into the cracks between the narrative strands, until the cracks become chasms and the chasms become an abyss into which you stare until it looks deep into your own soul, and then you go insane. You. Do. Not. Leave. The Cabinet.

Michael Bay understands that summer movies are about two things: male anxiety, and pure id. That’s why he casts Shia LaBoeuf, that supreme avatar of pure male inadequacy, in the lead role. LaBoeuf projects a pathetic, wall-eyed dorkhood, when he’s not babbling like a tumor removed from Woody Allen’s prostate that somehow achieved sentience. I imagine the DVD of ROTF will include a whole disk of outtakes where they had to stop filming because LaBoeuf was drooling on camera. As it is, the film includes several extreme closeups of LaBoeuf’s dazed stare. Read more at www.io9.com