The Transformers: The Movie (dir. by Nelson Shin) Review


“Such heroic nonsense.” — Megatron

The Transformers: The Movie from 1986 was a must-see for me as a 13-year-old boy, but the anticipation of watching it and the actual experience were two entirely different things. The former was filled with excitement, the kind that comes from counting down the days until you finally get to see your favorite characters on the big screen. The latter, however, was something else entirely—a scarring moment that taught me, in the final year before entering high school, that not even afternoon cartoon characters were exempt from onscreen deaths. It was a harsh lesson in the unpredictability of storytelling, and it left an impression that has lasted a lifetime. And I wasn’t alone. The film shocked and scarred millions of children who flocked to theaters or gathered around their VHS players, expecting their beloved Transformers cartoon to simply be bigger and louder on the big screen. Instead, they were met with the brutal, unforgiving reality of watching their favorite characters die in battle, one after another.

The film was released during the height of Transformers mania in the mid-1980s, a time when the toy aisle was dominated by Hasbro’s robotic heroes and villains. But here’s the thing: The Transformers: The Movie wasn’t just about selling toys—it was about replacing them. Hasbro had a new line of Transformers ready to hit the shelves, and the movie served as a way to phase out the older generation of characters. The result? A shockingly brutal narrative that saw many fan-favorite characters meet their end in ways that were far removed from the relatively tame Transformers TV series. This wasn’t just a Saturday morning cartoon stretched to feature length; it was a full-blown sci-fi epic with stakes that felt real, and consequences that were permanent. For kids like me, who grew up watching the TV show, the film was a jarring wake-up call. The deaths of major characters like Ironhide, Prowl, and even Optimus Prime himself were not just unexpected—they were traumatic. It’s no exaggeration to say that The Transformers: The Movie left an entire generation of children with lasting emotional scars, all because it refused to sugarcoat the cost of war.

And yet, that’s exactly why it worked. The film’s willingness to go dark and take risks is what set it apart from so much of the animated fare of the era. The story picks up in the year 2005, with the Autobots and Decepticons still locked in their eternal struggle. The Decepticons, led by the ever-scheming Megatron, launch a full-scale assault on Autobot City on Earth, and the battle that follows is one of the most intense and visually stunning sequences in the film. The animation, while a product of its time, holds up surprisingly well, with vibrant colors and dynamic action that still feels exciting today. But what really sticks with you is the emotional weight of the story. The film doesn’t shy away from showing the cost of war, and the loss of life—even for animated robots—feels genuine. It’s a far cry from the often lighthearted and episodic nature of the TV series, and that contrast is part of what makes the movie so memorable.

At the heart of the film’s emotional impact is Peter Cullen’s iconic performance as Optimus Prime. Cullen’s voice work in the Transformers TV series had already made Optimus Prime a beloved figure, but in the movie, his role takes on an even greater significance. Though his screen time is brief, Cullen’s delivery of Optimus’s final words—“Until that day, ‘till all are one”—is nothing short of legendary. It’s a moment that has been etched into the minds of fans for decades, a testament to Cullen’s ability to convey both strength and vulnerability in a single line. Even now, nearly 40 years later, that scene remains one of the most powerful in the entire Transformers franchise. Cullen’s work helped elevate Optimus Prime from a toy commercial mascot to a genuine hero, and his influence can still be felt in every iteration of the character that has followed.

The film’s legacy is a fascinating study in how a movie can transcend its origins. On paper, The Transformers: The Movie was a 90-minute commercial designed to sell a new wave of toys. But in practice, it became something much more. The bold storytelling choices, the emotional depth, and the sheer audacity of killing off major characters in a children’s animated film ensured that it would be remembered long after the toys it was promoting had been forgotten. For the kids who saw it in theaters or on VHS, the film was often their first exposure to the idea that stories could have real consequences, and that heroes didn’t always make it out alive. It was a formative experience, one that left a lasting impression and helped shape the way a generation of fans engaged with media.

Of course, the film isn’t without its flaws. The pacing can feel uneven at times, and some of the new characters introduced in the movie—like the Dinobots and the Junkions—don’t get as much development as they deserve. The humor, while present, sometimes feels out of place amidst the darker tones of the story. But these quibbles do little to detract from the overall impact of the film. The Transformers: The Movie is a product of its time, but it’s also timeless in the way it handles its themes of sacrifice, leadership, and the cost of war. It’s a film that refuses to be pigeonholed as just a kids’ movie, and that’s part of its enduring appeal.

Today, The Transformers: The Movie holds a special place in the hearts of those who grew up with it. It’s a cult classic, a film that’s celebrated as much for its flaws as for its strengths. For many adults, revisiting the movie is like opening a time capsule, a chance to reconnect with the wide-eyed child they once were, the one who sat in front of the TV or the big screen, completely unprepared for the emotional rollercoaster they were about to experience. The film’s legacy is a testament to the power of storytelling, and to the idea that even something as seemingly commercial as a toy-based animated movie can leave a lasting impact. Whether you’re a lifelong Transformers fan or just someone who appreciates a good underdog story, The Transformers: The Movie is a film that’s well worth revisiting. Just be prepared for a few emotional gut punches along the way.

Scenes That I Love: The Opening Tracking Shot from Orson Welles’s Touch of Evil


Since today is Orson Welles’s birthday, I wanted to share at least one scene that I love from his films.  The famous tracking shot from 1958’s Touch of Evil, which begins in America and ends in Mexico, truly shows Orson Welles at his visionary best.

It’s also Welles at his most clever.  Knowing that he wouldn’t be given control over the editing of the footage he shot, Welles included as many long shots as possible to make it more difficult for an editor to chop up or alter his vision.

4 Shots From 4 Films: Special Orson Welles Edition


4 Or More Shots From 4 Or More Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!

Today we celebrate what would have been the 111th birthday of the great Orson Welles!  It’s time for….

4 Shots from 4 Orson Welles Films

Citizen Kane (1941, dir by Orson Welles, DP: Gregg Toland)

MacBeth (1948, dir by Orson Welles, DP: John L. Russell)

The Trial (1962, dir by Orson Welles, DP: Edmond Richard)

Chimes at Midnight (1965, dir by Orson Welles, DP: Edmond Richard)

Scenes That I Love: The Third Man


ThirdManUSPoster

Some movies are merely good.  Some movies are undeniably great.  And then, a handful movies are so amazingly brilliant that, every time you watch, you’re reminded why you fell in love with cinema in the first place.

The Third Man is one of those brilliant films.

Directed by Carol Reed and scripted by novelist Graham Greene, The Third Man takes place in the years immediately following the end of World War II.  Pulp novelist Holly Martins (Joseph Cotten) comes to Vienna to search for his old friend Harry Lime (Orson Welles).  Upon arriving, Holly is shocked to learn that Harry makes his living selling diluted penicillin on the black market.

In the classic scene below, Harry and Holly have a clandestine meeting in a Ferris wheel and Harry justifies both his actions and the lives that have been lost as a result of them.

While Orson Welles’ performance is (rightfully) celebrated, I’ve always felt that Joseph Cotten’s work was even more important to the film’s success.  While Welles made Harry Lime into a charismatic and compelling villain, it was  Cotten who provided the film with a heart.

Here is Dracula, presented by Orson Welles and The Mercury Theater!


Did you know that in 1938, the same year that they horrified America with their production of The War Of The Worlds, Orson Welles and the Mercury Theater did a radio version of Dracula?

Check out this amazing cast list:

Orson Welles – Dracula/Dr. Arthur Seward
George Coulouris- Jonathan Harker
Ray Collins – Russian Captain
Karl Swenson – The Mate
Elizabeth Fuller – Lucy Westenra
Martin Gabel – Professor Van Helsing
Agnes Moorehead – Mina Harker

Coulouris, Collins, and Moorehead would, of course, all go one to appear with Orson Welles in Citizen Kane.

And now, we are proud to present, for your listening pleasure …. DRACULA!

Horror on TV: The Night America Trembled (dir by Tom Donovan)


Filmed in 1957 for a television program called Westinghouse Studio One, The Night America Trembled is a dramatization of the night that Orson Welles terrified America with his radio adaptation of War of The Worlds.  

For legal reasons, Orson Welles is not portrayed nor is his name mentioned.  Instead, the focus is mostly on the people listening to the broadcast and getting the wrong idea.  That may sound like a comedy but The Night America Trembled takes itself fairly seriously.  Even pompous old Edward R. Murrow shows up to narrate the film, in between taking drags off a cigarette.

Clocking in at a brisk 60 minutes, The Night America Trembled is an interesting recreation of that October 30th.  Among the people panicking: a group of people in a bar who, before hearing the broadcast, were debating whether or not Hitler was as crazy as people said he was, a babysitter who goes absolutely crazy with fear, and a group of poker-playing college students.  If, like me, you’re a frequent viewer of TCM, you may recognize some of the faces in the large cast: Ed Asner, James Coburn, John Astin, Warren Oates, and Warren Beatty all make early appearances.

It’s an interesting little historical document and you can watch it below!

A Blast From The Past: Orson Welles’s 1938 Broadcast of The War of the Worlds


On October 30th, 1938, Orson Welles and the Mercury Theater On The Air broadcast an adaptation of H.G. Wells’s War of the Worlds and, legend has it, they scared the ever-loving heck out of America.

Actually, there’s some debate as to just how panicked America got when they heard the Mercury Theater On The Air’s adaptation of War of the Worlds.  There was definitely some panic but there are differing reports on just how wide spread it was.  For our purposes, let’s assume that the entire country was terrified at the same time and that everyone was loading up a shotgun and planning to go out and look for aliens. With his adaptation of War of the Worlds, Orson Welles managed to invent the whole found footage genre that would later come to dominate horror cinema in the late 90s and the aughts.  Every found footage horror film owes a debt to what Orson Welles accomplished with War of the Worlds.  Ultimately, it’s just another example of how far ahead of his time Orson Welles was.

H.G. Wells, the original author of War of the Worlds, and Orson Welles only met once, while they were both in San Antonio, Texas in 1940.  (Orson Welles and H.G. Wells hanging out in San Antonio?  To be honest, that sounds like it would make a good movie.)  They were interviewed for a local radio station.  H.G. Wells expressed some skepticism about the reports of Americans panicking while Welles compared the radio broadcast to someone dressing up like a ghost and shouting “Boo!” during Halloween.  Both Wells and Welles then encouraged Americans to worry less about Martians and more about the growing threat of Hitler and the war in Europe.

I’ve shared this before but this just seems like the time to share it again.  Here, for Halloween Eve, is the 1938 Mercury Theater On The Air production of The War of the Worlds!

Film Review: Transformers: The Movie (dir. by Nelson Shin)


1986 was such a fantastic year.

With movies like Top Gun, Labyrinth and Ferris Bueller’s Day Off already out, the summer would give us Big Trouble in Little China, Aliens, & The Fly (Which at one point you could catch as a double feature with Aliens). The two best announcements at home were that a new baby was on the way and Transformers: The Movie was coming out. By August, we knew the baby would be a boy and a name was already set aside for him. We were naming him after a fallen Officer who was a friend of my father’s on the Force.

Impending older brotherhood was nice, but for 11 year old me, it all took a backseat to the Death of Optimus Prime. Up until then, the most shocking fictional event we had in school was either Return of the Jedi closing the book on Star Wars some years prior, K.I.T.T. getting destroyed (and rebuilt with Super Turbo Boost) in Knight Rider, or Rico losing Angelina in a car bomb during the Season Finale of Miami Vice just a few months back.

I didn’t get a chance to see Transformers: The Movie during the film’s initial run, simply because there wasn’t anyone at home who wanted to sit through it with me. My older brother, through other means, managed to score a VHS copy of the film within the first week or so of its theatrical release. I watched and re-watched that video so many times, and would even pause it to try to draw some of the characters. Eventually, I was able to catch a re-release for the film’s 30th Anniversary.

After two full seasons of the show, Transformers: The Movie was basically Hasbro’s way of cleaning house from the 1984 Generation 1 toy line to introduce a new set. The show sold figures, and the hopes were that the film would do the same. Granted, there were already a large number of Transformers to work with by the time the movie came out. With nearly 50 Autobots and about 35 Decepticons to choose from, the film focused on a few, such as the Insecticons, Dinobots and some of the G1 favorites like Soundwave, Starscream, Jazz & Bumblebee. The Constructicons (and Devestator)were the only group set to be featured in the movie. The Stunticons & Aerialbots would sit this one out. Hasbro really didn’t care too much about the impact of any of these changes on the movie’s plot. While most of the trailers asked “Does Optimus Die?”, their toy commercial line already introduced Rodimus Prime.

Produced by De Laurentiis Entertainment Group (Near Dark, Blue Velvet), Transformers: The Movie takes us to the future of 2005. The Autobots and Decepticons are still fighting it out, with a few changes in the war. The Decepticons own the Transformers home planet of Cybertron, but the Autobots have control of two of Cybertron’s Moons and a city on Earth. Lead by Optimus Prime (Peter Cullen, Eeyore on The Adventures of Winnie the Pooh), the plan is get back to Earth and then handle the Decepticons from there. Of course, the Decepticons and their leader, Megatron (Frank Welker, The Golden Child) find out about this and intercept an Autobot shuttle, outright killing classic show staples Prowl, Brawn, Rachet and Ironhide. I can’t imagine what it was like to be a kid, bring your favorite toy to the movies, only to see the character it’s based on killed on screen. To make things worse, a planet eating transformer named Unicron threatens both parties, including Cybertron. Can Unicron be stopped?


It wasn’t a total loss. We were introduced to new Autobots in the rookie Hot Rod (Judd Nelson, The Breakfast Club), the war hero Kup (Lionel Stander, TV’s Hart to Hart), the fast talking Blurr (John Moschitta, Jr., Dick Tracy), would be leader Ultra Magnus (Robert Stack, Airplane), an Autobot First Lady in Arcee (Susan Blu), and Triple Changer Springer (Neil Ross). The two most famous vocal additions were Leonard Nimoy (Invasion of the Body Snatchers) the new Deception leader Galvatron and Orson Welles (The Third Man) as Unicron. As a kid, it was pretty awesome to know that both Spock and the “No Wine Before It’s Time” guy were joining in all of this. It made Transformers seem a bit larger. My parents would point out that Orson Welles was “the” Orson Welles, but as Citizen Kane wasn’t on my radar (despite my Dad owning and watching it), I associated him with Wine commercials. To both their credit, Nimoy and Welles did just fine with their vocal talents.

While the animation for Transformers was never fantastic, the movie was a bit of an improvement. It never quite reached the levels of anime films like Fist of the North Star & Golgo 13: The Professional. The Soundtrack was ultimately where the film shined, with a mix of rock music from bands like Lion and Stan Bush and a score by Vince DiCola. Coming off of Staying Alive and Rocky IV, DiCola’s work on Transformers: The Movie was great, and remains a go to album for me when music is needed for a situation.

The Death of Optimus Prime was a bit of a shock to the audiences that saw (and cared about) it. Hasbro would eventually bring Prime back temporarily as a Zombie in an episode of the show’s 3rd Season, and then again to lead in the season’s 2 part finale, “The Return of Optimus Prime”.

After seeing the film, I asked me parents for some of the movie based Transformers. Christmas was put on hold by my Mom as she went into labor around Christmas Eve. I was able to open just one gift before Christmas. This happened to be a Hot Rod figure that I found in a toy store back in November, which was quickly snatched and wrapped for the Christmas Pile before I could get to open it. She had my little brother on Christmas Morning, and we eventually celebrated the holiday half a week later. Bless her heart, she gave me almost the entire Movie line – Galvatron, Rodimus Prime, Springer, Cyclonus, and the Predacons (who weren’t in the movie). Playing with them took a backseat to diaper detail, but hey, that Christmas was one of the best.

Overall, Transformers: The Movie is one of those films I happily return to from time to time. It’s not incredible in any major way, but it takes me back to one element of a magical year.

The History of the World, Part I (1981, directed by Mel Brooks)


Overlong, wildly uneven, gimmicky too a fault, and often laugh out loud funny with a mix of jokes that range from the crude to the sublimely clever to the surprisingly sentimental, The History of the World, Part I is the ultimate Mel Brooks films.

Narrated by Orson Welles and featuring five historical stories and a collection of coming attractions, The History of the World Part I follows man from his caveman origins to the French Revolution and the thread that ties it all together is that humanity always screws up but still finds a way to survive.  Moses (Mel Brooks) might drop and break one of the three tablets listing the 15 Commandments but he’s still able to present the other ten.  Stand-up philosopher Comicus (Mel Brooks) might make the mistake of poking fun at the weight of Emperor Nero (Dom DeLuise) but he still makes his escape with Josephus (Gregory Hines), Swiftus (Ron Carey), and Miriam the Vestal Virgin (Mary-Margaret Humes) and ends up serving as the waiter at the Last Supper.  (“Jesus!”)  The Spanish Inquisition may have been a catastrophe but it also gave Torquemada (Mel Brooks) a chance to show off his performance skills.  The French Revolution may have been a bloodbath but the future still held promise.  Ask for a miracle and he’ll show up as a white horse named Miracle, no matter what era of history you’re living in.

The humor is very Mel Brooks.  During the Roman Empire sequence, Madeline Kahn plays Empress Nympho.  Jackie Mason, Harvey Korman, Cloris Leachman, Spike Milligan, Jan Murray, Sammy Shores, Shecky Greene, Sid Caesar, Henny Youngman, and Hugh Hefner all make cameo appearances.  Carl Reiner is the voice of God.  John Hurt plays Jesus.  The film ends with the promise of a sequel that will feature “Jews in Space.”  Not every joke lands.  The entire caveman sequence feels forced.  But when the film works — like during The Inquisition production number — it’s hard not get caught up in its anything-goes style.  The entire Roman Empire sequence is probably more historically accurate than the typical Hollywood Roman epic.  That’s especially true of Dom DeLuise’s naughty performance as Emperor Nero.

Mel Brooks is 99 years old today and he says that he has at least one more film to give us, a sequel to Spaceballs.  I’m looking forward to it!  I’m also looking forward to rewatching and enjoying all of the films that he’s already given us.  The History of the World, Part I may not have initially enjoyed the critical acclaim of his earlier films but, in all of its anarchistic glory, it’s still pure Mel Brooks.

4 Shots From 4 Films: Special Joseph Cotten Edition


The Third Man (1949, directed by Carol Reed)

4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!

As you can probably guess from my pen name and my profile pic, Joseph Cotten is one of my favorite actors.  Cotten may be best known for his association with Orson Welles but he worked with several great directors over the years.  Along with playing Jedediah Leland in Welles’s Citizen Kane, he starred in Hitchcock’s Shadow of a Doubt and Carol Reed’s The Third Man.  Even while his film career was flourishing, Cotten continued to appear on the Broadway stage and, during the early days of television, he frequently appeared on anthology series, the majority of which were broadcast live.

In honor of Cotten’s birthday, here are four shots from four of his best films.

4 Shots From 4 Films

The Magnificent Ambersons (1942, directed by Orson Welles)

Shadow of a Doubt (1943, directed by Alfred Hitchcock)

Portrait of Jennie (1948, directed by William Dieterle)

The Third Man (1949, directed by Carol Reed)