‘Transformers: Rise of the Beasts’ Review: A Less Bombastic, More Relatable Sequel Shows That There’s Still Life in the Machine

The Titanic submarine's remains were found "almost immediately" by a rescue robot, according to the head of the search operation.

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Blue hair is seriously trending for pop stars this week!

Luke Bryan’s son is 15 and every parent knows what that means.“He’s 15, so he’s doing the whole learning permit nightmare,” the “But I Got a Beer in My Hand” singer told Katie Neal on Audacity’s “Kate & Company” podcast this week. “He is not a very good driver right now so we’re having to work with him pretty hard.” The country star added that Bo, 15, whom he shares with wife Caroline, 43, is “very frustrating right now ’cause he thinks he knows how to drive, but he has no idea what he’s doing.” Bryan explained that Bo thinks “because he can operate a 4-wheeler or Polaris that he is quite proficient.

A post shared by Swami John Reis (@swami_john_reis)Born in Los Angeles, California in 1968, one of Froberg’s earliest musical projects was the San Diego-based band Pitchfork, which he formed with Reis in 1986. Following Pitchfork’s disbandment in 1990, the pair formed Drive Like Jehu alongside bassist Mike Kennedy and drummer Mark Trombino.Their self-titled debut album was released the following year, with follow-up ‘Yank Crime’ arriving in 1994.

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A specialist Crown Office team investigating 5,688 Covid deaths has concluded its first cases but is yet to prosecute any organisations or individuals after three years.

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**Spoiler Alert – This discusses the end of “Transformers: Rise of the Beats.” You’ve been warned.** For folks who saw “Transformers: Rise of the Beasts” over the weekend, they were likely surprised by the very end of the film, which saw a MCU-style crossover moment between two massive franchises. And according to the filmmakers involved with ‘Rise of the Beasts,’ this isn’t just a throwaway moment.

Owen Gleiberman Chief Film Critic It’s one of the inside-out realities of our era that scandal, if you give it enough time, turns into myth. So it is with the story of Milli Vanilli, the German-French R&B pop duo of the late ’80s and early ’90s who, having sold close to 50 million records, were revealed to be a fake: a pair of lip-syncing Euro pretty boys who hadn’t sung a note on any of their hits or at any of their concerts. Once they’d been unmasked, the rise and fall of Milli Vanilli played out on two levels. The first was the spectacular embarrassing bad joke of it all — though it was never just a joke, since Milli Vanilli’s fans felt a tremendous sense of anger and betrayal at having been fooled. (The joke was on them.) The second level recognized a crucial and obvious truth: that the scandal wasn’t only about Rob Pilatus and Fabrice Morvan, with their teenybop dreads and break-lite dance moves, getting up onstage and singing to prerecorded tracks, as if it had all been their idea. No, the brazen fakery of Milli Vanilli echoed, or at least rhymed with, various other kinds of fakery that were embedded in the music industry (the packaging of boy bands, the use of lip-syncing by established stars). This was certainly more extreme, and worthy of being called on the carpet for, but it wasn’t a stand-alone sin.

“Transformers: Rise of the Beasts” stormed into theatres worldwide this weekend, amassing a staggering $110 million at the international box office. 

Rebecca Rubin Film and Media Reporter “Transformers: Rise of the Beasts” kicked off at the international box office with $110 million from 68 markets, including a decent $40 million start in China. The seventh installment in Paramount’s action franchise also pulled in $60 million in its North American debut, bringing its worldwide tally to a solid $170 million. Overseas audiences will be key to the theatrical success of “Transformers,” which cost $200 million. Prior entries in the 16-year-old series have earned as much as 70% of overall box office returns outside of the U.S. and Canada. At the international box office, ticket sales for “Rise of the Beasts” are pacing 32% below “Bumblebee,” which is the most recent entry in the series. The newest chapter has managed to set franchise records in eight smaller markets, including Indonesia, Argentina and Peru. The Autobots will take the box office milestones where they can get them.

Rebecca Rubin Film and Media Reporter Spider-Man put up a good fight, but the Autobots came out on top. After an unusually close box office battle, Paramount’s “Transformers: Rise of the Beasts” pulled ahead of “Spider-Man: Across the Spider-Verse,” debuting in first place to $60.5 million from 3,678 theaters. Sony’s animated “Spider-Verse sequel still managed a mighty second weekend, landing in second place with $55.4 million from 4,332 theaters. Initial ticket sales for “Rise of the Beasts,” which is the seventh installment in the “Transformers” franchise,” were notably better than the prior two entries, 2018’s “Bumblebee” ($21.6 million) and 2017’s “The Last Knight” ($44.68 million). It’s an encouraging sign that Paramount’s action series isn’t yet running on fumes. That’s been a concern because the more recent chapters brought back diminishing returns after softer starts. Reviews for “Rise of the Beasts” were mixed, but audiences embraced the film with an “A-” CinemaScore.

“Transformers: Rise of the Beasts,” the latest installment in the big-screen, live-action adaptation of the beloved Hasbro toy line. “Rise of the Beasts,” which is the planned start of a new trilogy, is the seventh film in the series. Chronologically, it comes after “Bumblebee,” which was a prequel to the first five films in the series.

Jordan Moreau SPOILER ALERT: This contains major spoilers about the ending of “Transformers: Rise of the Beasts,” now playing in theaters. Is this the beginning of the Hasbro Cinematic Universe? After rumors of a crossover between the “Transformers” and “G.I. Joe” franchises circulated online in recent months, it seems like the ultimate ’80s action-toy mash-up is officially happening. The ending of “Transformers: Rise of the Beasts” has a direct callout to the Joes, and director Steven Caple Jr. and producer Lorenzo di Bonaventura spoke to Variety at the film’s premiere about what to expect next from the series.

Jon Burlingame On the scoring stage at 20th Century-Fox studios in Burbank, composer Jongnic Bontemps is walking around in a “Transformers: The Movie” T-shirt – that’s the animated cartoon from 1986, not the $200-million summer blockbuster he’s just scored. “Violins, play a little softer,” he tells the musicians via intercom from the glass booth behind the stage. “It has to be emotional.” Later, after a rehearsal on a different cue, he tells the string players, “It needs to feel like a warm blanket.” Bontemps is making movie history. He has just spent two years writing the music for “Transformers: Rise of the Beasts,” the seventh in the big-screen franchise, and he’s supervising the recording of the final pieces of the score with a 74-piece orchestra. The film opens Friday.

Pete Davidson has provided an update on the giant boat he purchased while under the influence of drugs.During an episode of Saturday Night Live in January 2022, Davidson revealed that he and fellow SNL star Colin Jost bought a ferry in Staten Island when they were stoned.On Monday (June 5), while appearing on the red carpet for the premiere of Transformers: Rise Of The Beasts, Davidson admitted that he has “no idea what’s going on” with his and Jost’s unusual investment.Asked by Entertainment Tonight if he was planning a Transformers afterparty on the boat, Davidson laughingly replied: “Yeah, if it’s not sunk!”“I have no idea what’s going on with that thing,” he added. “Me and Colin were very stoned a year ago and bought a ferry. And we’re figuring it out.“Hopefully it turns into a Transformer and gets the fuck out of there so I can stop paying for it!” he laughed.For Rise Of The Beasts, Davidson lends his voice to fan-favourite Autobot Mirage.

Summer’s tentpole rumble continues this weekend with Paramount’s seventh Transformers movie, Transformers: Rise of the Beasts, which is heat-seeking $155 million at the worldwide box office for its opening frame, $100M of that offshore.

Rebecca Rubin Film and Media Reporter “Transformers: Rise of the Beasts” is readying to turbocharge the box office, targeting $50 million to $60 million in its opening weekend. There’s a chance that inaugural ticket sales could climb higher as the Paramount Pictures film touches down on Friday in 3,700 North American theaters. But the latest Autobot adventure is expected to face headwinds from last weekend’s champion, Sony’s “Spider-Man: Across the Spider-Verse.” The animated comic book sequel launched to $120 million and looks to add $45 million to $55 million in its second weekend of release. That’s close to double what the original, 2019’s “Into the Spider-Verse,” earned in its debut. Yep, Spidey’s still got it.

Owen Gleiberman Chief Film Critic In comic-book movies, when it comes to a hero’s superpowers — flying, lifting objects, repelling bullets, the indomitability of a shield or hammer — the audience is almost always on the outside looking in. But in “The Flash,” when the title character throttles forward at the speed of the hot-singe lightning streaks at his back, or floats through the air in slowed-down motion so beyond bullet-time that a mere second appears to last forever, the movie makes us part of the experience. We know just what he’s going through, which is why the scene gives you a jolt.     Early on, Barry Allen (Ezra Miller), a forensic chemist in the Central City Police Department, receives a call from Alfred (Jeremy Irons) — yes, that Alfred — letting him know that there’s an attack underway, and that none of the other Justice League members, notably Batman, is around to help. So Barry, in his form-fitting red thermal crystal helmet and suit, zoom-runs all the way to Gotham City, where he confronts a high-rise hospital whose east wing is collapsing, leaving a nursery full of newborns falling through the air. The extended sequence in which he saves them, grabbing energy bites of candy and burrito in between, has the feel of an underwater comedy ballet. It’s life-or-death but cheeky as hell. Just like our cracked hero.

A cold open introducing how a Transformer ends up on earth. An extended introduction to a nifty, somewhat nerdy girl into gizmos and gadgets.

When it comes to “Transformers: Rise of the Beasts,” the latest installment in the Hasbro franchise of shape-shifting robots-cum-vehicles known as Autobots and Decepticons, it’s perhaps wise to share a bit of good news first. If you’ve ever been intrigued about this agile collection of cling-clang-kabooming cars and trucks, but have been too intimated by all the homework involved—there are, after all, six former “Transformers” movies and a whole lot of other iterations out there— fear not.

In the world of action cinema, the Transformers series has always been a cinematic spectacle to behold. Transformers: Rise of the Beast, the latest in this high-octane franchise, doesn’t stand out amongst the previous films as anything more than a cash grab. Directed by Steven Caple Jr. and written by a team that includes Joby Harold, Darnell Metayer, and Josh Peters, the film boasts a stacked cast including Anthony Ramos, Dominique Fishback, and Lauren Luna Velez, with voice acting by Michelle Yeoh, Peter Dinklage, Peter Cullen, Ron Pearlman, Coleman Domingo, Pete Davidson, Liza Koshy, MJ Rodriguez, John DiMaggio, and Cristo Fernandez.

Pete Davidson has a voice role in the new movie Transformers: Rise of the Beasts and he stepped out at the film’s Brooklyn premiere alongside co-stars Anthony Ramos and Dominique Fishback!

Pete Davidson hit the red carpet at the  premiere where he revealed what  alum and friend Megan Fox and her fiancé, Machine Gun Kelly, had to say about him joining the universe.«When I told Colson and Megan, they laughed, they were like, 'That's sick.' They were really stoked,» Davidson, who plays Mirage, one of Optimus Prime's Autobot pals, told ET's Will Marfuggi.He continued, «It's really exciting, man. And Steven did a great job, and it's — it's .»Davidson's enthusiasm for the film extended to his outfit for the premiere, with the funnyman rocking a blue, velour tracksuit with the logo on it.«This is crazy. I've been going to these movies forever.

Owen Gleiberman Chief Film Critic If you’ve ever wondered when it was that Michel Gondry, the gifted French director of “Eternal Sunshine of the Spotless Mind,” became the world’s most annoying filmmaker, you might say the answer is, “He always was.” Yet no one, including me, quite thinks of him that way. That’s because the few works of his that have come to prominence possess a special combination of facility and charm. I adore “Eternal Sunshine,” a virtuoso movie that bends your brain and breaks your heart at the same time. You might simply choose to characterize it as the masterpiece of screenwriter Charlie Kaufman, but the truth is that Gondry directed it ­— the leaps in time, the emotionally convulsive performances of Jim Carrey and Kate Winslet — with a masterful sense of play and gravitational control.

Jordan Moreau What’s up, danger? After nearly five years, it’s time to swing back into the Spider-Verse, as Sony’s sequel, “Spider-Man: Across the Spider-Verse,” has webbed up $17.35 million in Thursday previews at the box office. The animated sequel is expected to open at $80 million this weekend, with some projections going as high as $90 million or more. It’s a big swing ahead of the original movie, 2018’s “Spider-Man: Into the Spider-Verse,” which opened with $35.4 million and had $3.5 million in Thursday previews. The Thursday total also gives “Across the Spider-Verse” the second-highest preview gross for an animated movie, behind “The Incredibles 2” with $18.5 million, and the second-highest previews for any “Spider-Man” film, behind “Spider-Man: No Way Home” with $50 million.

Owen Gleiberman Chief Film Critic Nearly every mainstream animated feature (and just about every comic-book movie too) sets a tone and visual design that the audience plugs into; the movie, bold and shiny and clever as it may be, won’t deviate much from that. But the images in “Spider-Man: Across the Spider-Verse” have an intoxicating unpredictability. The film makes you feel like you’re dropping through the floors of a modern art museum on acid, yet there’s a thrilling moment-to-moment logic to it all. The madly eclectic images express something — an eyeball-tickling explosion of quantum physics, or a subliminal nod to some comic-book style from decades ago that’s so retro it’s new, not to mention bedazzling. This feels like it could have been the first movie designed to earn a thumbs up from Andy Warhol and Stephen Hawking.

Anthony Ramos holds onto a tiny Transformers figurine during the world premiere of Transformers: Rise of the Beasts held at Marina Bay Sands over the weekend in Singapore.