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How Hollywood Saved Itself (Again) at the Summer 2017 Box Office

The Summer Box Office of 2017 does not represent the death of the Hollywood. It simply represents the changing face of Hollywood accounting.

                                      
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The Summer Box Office of 2017 does not represent the death of the Hollywood. It simply represents the changing face of Hollywood accounting.

Michael Bay’s frenzied, kaleidoscopic, dumb-ass magnum opus arrives on Blu-ray just in time to flex menacingly at The Great Gatsby from across the DVD aisle. The American dream lives on.

Rather than exercise judgment or critical perspective on crime and punishment, Spring Breakers and Pain & Gain share their characters’ self-indulgence, making narcissism seem like a palatable or practical means to achieve goals.

If you find yourself in a Hollywood film this summer and you’re not wearing a cape, watch out for falling debris.

Retro Remote nominates Sex Kittens Go to College as Transformers' true precursor. The problem with Tranformers-type franchises is that the criticisms can only annoy people by reminding them of what they have chosen to ignore.

This year is the 70th anniversary of the first TV commercial, so we cast our glance back at the some of the most memorable ads of all time.

Five ways the infamous director gets us to watch his awful movies again and again and again...

Instead of splurging for 3-D screenings, it is wiser to use the extra cash to upgrade your concessions. Transformers is 2011’s blockbuster summer popcorn film.

Transformers: Dark of the Moon is another exercise in the one-dimensional portrayal of women for Michael Bay.

As artists have become less concerned with telling stories and more concerned with creating emotional connections and mimicking experiences, art has shifted from creating beauty to expressing the heady nature of 'truth'.

Consider the patience and time it takes to build a ship in a bottle. Now imagine a fully functional Spanish Armada in a snow globe.

The point here is excess. For 144 minutes, the film pummels and pounds, delivering explosions, combat troops, speeding vehicles, computer codes, giant robots -- and more explosions.

Without the weight of an already formed franchise to pull it down, this filmic funhouse is allowed to spin wildly out of control. We simply sit back and enjoy the operatic ride.

Ewan McGregor and Scarlett Johansson run around in an efficiently digitized near-future scary-scape, occasionally propelled by ethical questions about cloning.

In almost every way, Bad Boys II is larger, louder, and longer than the original. It is also more of the same.

For this invasion, they need extra firepower and get it, including useful high tech surveillance courtesy of the CIA: this is Bad Boys II's most outrageous fantasy, that this agency has its act together.