#19: Transformers Rise of Beasts
The more time passes, the more I feel like Rise of Beasts came in a very in-between period for the franchise's big-screen ventures. With everyone still feeling the hype of Bumblebee and Transformers One around the corner, this film got lost in the shuffle, especially when it only spent less than a month in theaters.
This is a shame because, like its placement here, I find this movie in the middle when it comes to live-action Transformers movies. Like its predecessor, I love how this movie takes advantage of its 90s setting through the aesthetic and soundtrack. Anthony Ramos may have cheated on his fiancee but didn't with his performance.
In general, though, given Michael Bay's history with the franchise, it's so refreshing to have a majority POC cast, especially with the overall message the movie has of taking pride in where you come from. Combined with Optimus being a little weary of the hero shtick, there's a good dynamic. They did the Maximals dirty for a movie called Rise of Beasts.
Despite opening the movie, they play second fiddle in their movie compared to Optimus and Noah. It especially baffles me that they establish the Maximals knowing Optimus Prime but only doing a little with that knowledge. And everything else is just your bog-standard action blockbuster. Scourge is excellent, and I think the fight scenes are phenomenal, but I wouldn't say I liked the ending.
Not for being bad per se, but more so for teasing so hard that they wanted a sequel. I could practically hear them screaming it from the background. I was almost done between Unicron's attempted return and the G.I. Joe revealed. Regardless of whatever rebooted or reclaimed timeline this franchise tries to keep in live-action, I think Transformers still needs to be done as it marches on to 40 years.
#18: Equalizer 3
Denzel Washington you national fucking trasure. In a year of big, bombastic action films, Equalizer definitely ... isn't that. But lord help me if these films don't know how to captivate you with an opening. Having this film open up at the scene of one of McCall's capers, only for us to zoom out later to see the carnage he unleashed on full display, was orgasmic.
While most likely because of Denzel's age, I also think it shows how McCall has evolved from a man to a genuine natural disaster who has let this life get a little too stressful for him—all aspects that I think enhance the setting. Every Equalizer movie, or the entire franchise, has always been at the right place and time, with this one probably exemplifying that most.
McCall is at his most inactive here, yet the world still has images spiraling out of him in a wide-spanning conflict with some of the more gruesome antagonists we've gotten in terms of scale. This fact makes Robert's cathartic breakdown of them feel far more pulse-pounding.
Outside of the killer opening, I think the ending best displays this. Robert walking the streets of Altamonte like he was the personification of death was also really good. Equalizer 3 is probably my least favorite of the 3, but it's an excellent overall ending to Denzel's take on the franchise.
#17: Air
It's nice to sit back and see some actors work their magic in a year full of big blockbusters and excellent animated affairs. In a year where both the actors and writers strike popped off for the first time in decades, it's ironic that Artists Equity's first film managed to launch here. For those who don't know, AE is an artist-led entertainment company headlined by Matt Damon and Ben Affleck.
This is ironic in a movie where the whole point shines a light on the individuals who get the ball going—no pun intended. Regardless of my distaste for most sports, every actor gives it their all in fun performances.
From Viola Davis' steady portrayal of Deloris to Chris Messna's angry ramblings, we get a complete set of people who, ironically, will be remembered soon. Combined with Sonny's all-inspiring pitch, Micheal Jordan, I was roped in and locked in. While the movie didn't exactly make the most millions, I'm still excited to see whatever else Artists Equity has in store.
#16: Extraction 2
We're finally starting to get into the heavy hitters regarding action. The first Extraction was already one of my favorite action movies with stellar camera work, brutal ass action, and great heart. Realistically it didn't need a sequel, but big explosions made the 12-year-old inside me go oonga boonga, so here we are.
While Extraction 2 has far fewer moving pieces and the first emotional core, its cinematography and action have significantly improved. Trading away the bright yellows of Bangladesh, we get a complete view of the cold, concrete feel of European forests. That 20-minute segment between the prison riot, the car chase, and the train ride is genuinely one of the most impressive action scenes I've seen.
Though I could honestly stay this damn near every one of them, including the brutal ending, the camera work on display is excellent all around, and this movie continues to build the world of Extraction well. Nik and Yaz being able to join in the action was also fun, even if we had to part ways with the latter soon.
Still, despite their inclusion and the moving pace for a 2-hour slugfest, this one lacks some of the first's emotional core. Call it a presentation or just not messing with Ketavan's family, but ironically, the more personal stake wasn't felt for me. Mia's inclusion near the movie's end made my heart tear up, though, which is why I should go to the hospital. Still, with a wide scope, this movie managed to get. I would like to see what Tyler Rake will face in the sequel.
#15: The Color Purple
I am kicking myself silly for not seeing this movie earlier. Maya Angelou is a name I became familiar with in middle school, but it was nice to absorb myself into the work finally. The Color Purple, I know, also has a large history of adaptations, with this being the first movie musical as opposed to the usual play.
While I can't speak to performances in the play, the musical aspect is well utilized here. Unlike other entries in this list, Color Purple has many great performances but never lets them get in the way of certain films. With some of the uncomfortable conversations I've had in my life as a black man, I do like the way the film displays not only the misogyny still prevalent now but also the generational trauma that comes with it.
Also, while time can heal all wounds, it still takes all the same time. Cecile is a victim, yes, but we do see the aftereffects of how being mistreated affects her over time. There are a ton of regrets we see through her interactions with her children and, more importantly, Shug Avery.
Still, through all the trials and tribulations, seeing this movie cover so much history only to end with Cecile and Nettie united in the final stretch shined a light in my soul near the end. I believe The Color Purple is a movie showing how far we've come and still have left to go.
#14: Blue Beetle
If there is one fucking film out of the stacked summer lineup that I believed deserved better, it would be this. Amidst consecutive box office bombs from DC, Blue Beetle, like Aquaman, got set up on an even worse scale through the transition between cinematic universes. A detail I will never forgive anyone for legitimately: what's not to like about this movie?
Superhero origin movies have admittedly become a dime a dozen after over a decade of prominence, but Blue Better can still stand out much more. While I haven't seen his work on Cobra Kai, Xolo Maridueña was one of the best superhero castings I've seen in a minute. His performance alongside the more practical BB suit, which is excellent with a capital C, does wonders for grinding the entire film.
Which is incredibly important given the movie's serious focus on family. Jamie can draw power and purpose from his family; the Kord family is broken from years of resentment, and Caparax shows how cold you are without it. All of whom create real interesting parallels and surprisingly effective themes. Though I have to say that racist bitch Victoria Kord deserved whatever came her way.
Coupling the strong characters, though, is the equally strong visuals. Of course, BB is a smaller-budget film. Using practical effects for the suit and other gadgets adds weight to the fight scenes in a world where CGI has consumed most of the costumes from the Big 2. Whether it be the various fight scenes, the fun transformation sequences, or the test flight, I do fuck with how weird the scarab feels.
I also love how the scarab develops a more human speech pattern and starts using Spanish when fully bonded with Jamie. It's a simple way of showing their connection, but it works. Speaking of connections, I'm so glad this movie was fearless and honored the previous Blue Beetles like Ted Kord and Dan Garret.
While we don't know what happened to Ted (and likely we never will), they could leap off to something great. Like I said before, Blue Beetle is a great film that deserved better, and if the new DC film universe has a place for it, I would like to see it.