Travis Knight – Movie Musings

Catnip to fans (like me) but honestly a tonal mess of a film with just enough fun to almost work

Director: Travis Knight

Cast: Nicholas Galitzine (Adam/He-Man), Camila Mendes (Teela), Idris Elba (Duncan/Man-At-Arms), Jared Leto (Skeletor), Alison Brie (Evil-Lyn), Kirstin Wiig (Roberto), James Purefoy (King Randor), Charlotte Riley (Queen Marlena), Morenca Baccarin (Sorceress), Jóhannes Haukur Jóhannesson (Fisto), Jon Xue Zhang (Ram-Man), Sam C. Wilson (Trap Jaw), Sasheer Zamata (Suzie), Christian Vunipoa (Huessein)

When I was very young I loved He-Man and the Masters of the Universe. I had almost every toy, watched every cartoon, seen the live-action movie – I even continued watching the Further Adventures which took He-Man into space. So, I think its fair to say I am the exact target market for Masters of the Universe: a middle-aged man who hasn’t really grown up, who wants to soak in childhood nostalgia. On several of those scores, I can’t be disappointed with Masters of the Universe, even while recognising this is a deeply flawed film, with far less to entertain the non-fan.

Anyway, Adam (growing up to be Nicholas Galitzine) is the Prince of Eternia, who fled via a sword-of-power wormhole, to Earth after his planet was conquered by the evil Skeletor (Jared Leto). After losing the sword and being stranded on our world for 15 years, earning a crust as a sensitive ear in HR, Adam tells anyone who will listen he is actually a Prince from a far-flung world. When he finds the sword, he is rescued by old friend Teela (Camila Mendes) and taken back to Eternia where he finds the remains of the Eternia’s mightiest heroes struggling in the resistance to Skeletor. But perhaps Adam is the chosen one, who by the power of (Castle) Greyskull will become the mighty hero to defeat Skeletor?

Spoilers: of course he is. I’ll repeat, for the fan, there is so much to like about Masters of the Universe. First and foremost, the loving detail the characters have been bought to life, in all the bright primary colours and demented designs of the original. Did I ever imagine a world where I would see a live action film with a blue skinned Trapjaw with a green face, pinkish helmet and jaw and a mechanical arm that can turn into a hook or canon? Heck no, but I’m all for it.

Every single character has been bought to the screen like they’ve literally been ripped from the pages of my old comics, and given a steroids boost (although Skeletor’s old toys were as ripped as this). Not only that, but the film brings us obscure heroes like Moss Man (exactly what you’d expect) and Mechaneck (whose weapon is an extending mechanical neck). My hat guys. You can’t deny the love clearly there: so many of the cast and crew have talked about their deep-rooted affection for it (if I was a famous actor, I’d have loved to be in this). It’s strangely heart-warming.

But with my more critical grown-up head on – the one that isn’t bashing the action figures – is Masters of the Universe a mess? Yes, 100%. A fun mess for sure. Some decent laughs. Nicholas Galitzine is charmingly endearing as the gentle Adam. Camila Mendes revels in playing the film’s real tough guy, the good at almost everything Teela. Jared Leto has never been more enjoyable than as Skeletor, walking a tight rope between making the character absurdly pathetic and deeply horrible. It bounds along with real pace. As it should, since you can see much of its visual design, use of rock music and strongly tongue-in-cheek affectionate mockery is ripped straight from Thor: Ragnorak (you feel like its desperately trying to be a remake).

But thematically, it’s all over the shop. You feel the push-me-pull-me of different writing crews during the film’s tortuous production. It wants to explore questions of toxic masculinity and true strength coming from within. But does so ham-fistedly. For starters, the idea that Adam’s true powers come from his HR trained empathy is rendered hard to take seriously since (a) the film rips the piss out of HR speak every chance it gets, (b) Adam sounds ridiculous and uncertain and fails every single time he tries to defuse a conflict and (c) all his problems are solved through super strength. Not a single dilemma is resolved through negotiation or compromise.

Toxic masculinity coverage is also all over the shop. James Purefoy is presented as the model appalling dad, eternally disappointed in his sensitive son… until the film judderingly changes gear and tries to present this as well-meaning tough-love. Idris Elba’s Duncan collapses into a decade of drunken self-pity after his cocky self-assurance is torn apart. Does he get out of this spiral by acceptance or humility? No, he gets over it by blasting the hell out of stuff. Adam’s flatmate’s hiding his love of romcoms should be perfect for this but is only ever a punchline. Even Fisto’s masculine dismissal of Adam gets no blow back (the suggestion he’s full of cowardly bluster is similarly dismissed by the finale reaffirming he’s tough and therefore a hero).

Which makes the film’s moral (just like the cartoon, it ends with one!) feel pretty empty. Adam doesn’t even learn from his first brutally ill-thought out, violent attack on Skeletor’s HQ, which only succeeds in hurting people he cares for, that anger and pride are dangerous. He also quickly gets over his endearing squeamishness about ripping arms off androids or gunning down goons. Struggling to get out here is an idea of He-Man as still being the same sensitive twelve-year old – but it’s constantly cancelled out by the film needing He-Man to flex his muscles and skewer goons to the wall. A better film would have given He-Man his powers much later or explicitly have him earn them through demonstrating the qualities the film is pretending its praising (communication, honesty, sensitivity) rather than in his willingness to give a punch a go.

I could probably go on. I enjoyed the film. I did. But it’s sort of observed the arcs of Thor and Thor: Ragnorak, mixed it with some of the charm of Travis Knight’s Bumblebee, but still ended up completely missing the points it’s claiming to be making. And no amount of nostalgia-bait character design or (I can’t believe I’m typing this, even before news leaked he might have the same attitude to women as his character) fun from Leto or charm from Galitzine really makes up the difference.

A heart warming double bill in surprising “genuinely good Transformers film” Bumblebee

Director: Travis Knight

Cast: Hailee Steinfeld (Charlie Watson), John Cena (Colonel Jack Burns), Jorge Lendeborg Jnr (“Memo” Gutierrez), John Ortiz (Dr Powell), Jason Drucker (Otis Watson), Pamela Adlon (Sally Watson), Stephen Schneider (Ron), Glynn Turman (General Whalen), Len Cariou (Hank), Dylan O’Brien (Bumblebee), Peter Cullen (Optimus Prime), Angela Bassett (Shatter), Justin Theroux (Dropkick)

Michael Bay started making Transformers films in 2007. These massive, action-packed, technological marvels are testament to the skill of special effects gurus to create live-action versions of these transforming robots – and a testament to the lack of soul in Michael Bay as the films became increasingly empty, sprawling, noisy, pornographic (not in that sense!), tasteless, sexist efforts that leave a bad taste in the mouth. Bumblebee is a soft-reboot of the franchise – and the very first time it feels like this is a Transformers film that those growing up with the cartoons could recognise, and that you would be happy to show to kids.

In 1987, Cybertron has fallen and the Autobots have scattered across the galaxy. Young Bumblebee (voiced by Dylan O’Brien) is sent to Earth, where he loses his voice, his memory and nearly his life combating a Decepticon. Taking refuge as a beat up Volkswagen Beetle, Bumblebee is found by Charlie Watson (Hailee Steinfeld) a young car mechanic enthusiast mourning the sudden death of his father and struggling with her mother (Sally Watson) starting to move on with a new boyfriend Ron (Stephen Schneider). While Charlie and Bumblebee bond, more Decepticons – on the hunt for Bumblebee who they hope can lead them to Optimus Prime – arrive on Earth and join forces with anti-Transformer agency Sector 7, represented by Colonel Jack Burns (John Cena), to track Bumblebee down.

Travis Knight came to the film from directing several successful animation films – and his understanding of the nuances of inflection and character that you need in order to bond with animated characters. He also brings back an innocence, a dignity and a sense of honour to the franchise. Where the Autobots in past films had increasingly become brash blowhards or brutal warriors (not least Optimus Prime who seemed to become more psychotic as the series went on) this film made them again the noble defenders of the weak that they were in the comics and cartoons. It’s not an exaggeration to say if the fans were waiting for a film that got closer to the spirit of the original, they had been waiting for this one.

Knight’s mastery of animation makes Bumblebee a true character, an endearing, bumbling (sorry), accident-prone, scared little kid who is also a tender, caring and understanding friend. With Bumblebee mute for most of the film, the character communicates solely through his body language – and his hugely expressive eyes – and Knight has redesigned the character to have a larger, more open face that immediately makes him a warmer character. Knight also has a brilliant line in visual comedy, with Bumblebee hilariously trashing a house at one point in a stumbling display of silent comedy that works extremely well.

It also helps that Knight has such a strong, marvellous performance from Hailee Steinfeld as Bumblebee’s carer and protector. Seeing Steinfeld in this film is a real reminder of what brash, very male, figures Shia LaBeouf and Mark Wahlberg cut in the past few films, where women were even objects of tasteless ogling or rebellious kids to be protected by men. All that is thrown out of the window here (thank goodness), with this being the first film in the series written by a woman, Christina Hodson. Steinfeld is allowed to develop a character who is not a Tomboy, a hot scientist or a teenage girl stereotype, but someone who feels very real and hugely charming. Steinfeld brilliantly creates a bond with Bumblebee – no mean feat for a creature that is not there – and the film hinges perfectly on her growing emergence from the shell of trauma and loss at the death of her father, through finding a new purpose with Bumblebee. It’s a great performance anchoring a film full of special effects.

Knight’s film can still handle all the action you want – but unlike with Bay, where spectacle and violence is always considered way more important than story and character, his action scenes are shot with a simpleness and clarity that put character at the forefront. In fact character is what every scene is about, not the shattering punching and tastelessly sadistic, pornographic violence of robotic dismemberment that Bay’s film’s degenerated into. This is a film which feels inspired by the vibe of ET, about two damaged souls who come together to protect each other and find themselves. It’s a film that is about friendship and affection, and Knight’s action scenes carry a sense of these qualities, this desire to protect people, into them.

With the film’s light comic touch – not least from John Cena who is on good form as a Colonel with a grudge against all Transformers (“They literally call themselves Decepticons. That doesn’t set off any red flags?”) and Jorge Lendeborg Jnr, very endearing as Charlie’s would-be love interest – it feels like a film genuinely made by people who loved the original and loved it’s innocent, good-vs-bad themes. Knight also returns the design of the characters back far closer to the look of the 1980s – the opening on Cybertron, with all the characters appearing as souped up versions of their 1980s cartoon form is virtually a love letter to anyone who grew up watching these characters. Knight not only gets the visuals right, with a warmth and depth of character none of the rest of the films have had, he also understands the bravery and heroism of the Autobots in a way Bay never did – Knight’s Optimus Prime is a million miles from the prisoner-executing loonie Bay created.

Bumblebee for sure is no Citizen Kane (although it has lashings of Spielberg in it, not least ET). But it’s on a different planet to the rest of the series, and a film with tonnes in it to enjoy. With its careful balancing of themes from loss to survivor guilt it also has more to it than meets the eye.