TRANSFORMERS ONE. Brothers Never Lost? [REVIEW]

Optimus Prime and Megatron—two names etched in gold in the hearts of Transformers fans. After years of showcasing their battles on the big screen in live-action films, producers Michael Bay and Steven Spielberg decided to present the origins of their relationship in an animated film set during their youth. Together with director Josh Cooley, they shed light on why these friends became arch-enemies.

Taking advantage of animation, the creators also revisit the original Transformers stories from the 1980s, which were primarily designed to sell Hasbro toys. (I must admit, I won’t be able to compare this film to “Transformers: The Movie” from 1986, often considered the best Transformers movie, as I haven’t had the chance to see it. However, I’ll definitely try to track it down, though it seems to be absent from mainstream streaming platforms at the moment.)

When we meet Orion Pax and D-17, the names the characters used in their youth, the future adversaries are good buddies—like friends you could “steal horses with.” They seem to enjoy each other’s company, although Orion’s untamed nature often lands them in trouble, with D-17’s calm demeanor frequently saving the day. Despite D-17 beginning to feel frustrated by always being the voice of reason, it’s clear the two care deeply for each other, and any disagreements are just playful banter. The film’s early scenes, focused on their relationship, are some of the most enjoyable, filled with a carefree energy that’s infectious.

The main plot, however, revolves around their battle against injustice in light of revelations that reshape their view of the world, and the contrasting ways they handle problems, which become the root of their conflict. As the story progresses, D-17 grows increasingly frustrated with Orion’s behavior and with the life he’s living. The screenwriters seem to pose the question: Can true friends, like brothers, never be lost? Or more pointedly: When does the point of no return occur in a relationship?

The writers, Eric Pearson, Andrew Barrer, and Gabriel Ferrari, suggest that how we handle problems defines us as people—or in this case, as machines. This is why the story emphasizes key moments where the characters take different approaches to stress. Though D-17’s transformation into Megatron lacks a defining moment that would fully justify his shift—like a clear breaking point—the growing anger, frustration, uncertainty, and sense of injustice within him are palpable, which he reacts to with aggression. This reactive nature becomes the catalyst for the disputes that will continue for decades. Orion, on the other hand, presents a more level-headed approach, favoring dialogue and mediation. “Transformers One” effectively demonstrates that life is about how you respond to what happens to you. You can look to the future and avoid repeating past mistakes, or dwell on your pain and seek vengeance through anger. Though it may sound lofty, this message fits well within the “Transformers” universe, where grand speeches are commonplace.

From the previous paragraphs, one might think “Transformers One” is a social drama about personal growth. In a way, it is—after all, the differing perspectives of the two main characters ignite the conflict familiar to fans of the franchise. But true to its blockbuster nature, the animated “Transformers” is packed with colorful action scenes, shot from so many angles and with such rapid editing that it can sometimes be hard to keep track of what’s happening on screen.

Some elements of the film’s world evoke the aesthetics of “Star Wars” prequels, with scenes of races or a vast industrial shaft that resembles a bottomless abyss. Other moments recall the vibe of “Alita: Battle Angel”. The fight scenes, while well-choreographed, don’t feel innovative or memorable, following paths we’ve seen before in similar films. The most visually striking scenes might be the battle flashbacks, where the imagery appears to be layered over sand particles, creating a unique effect.

I found that the voice cast performed well, clearly enjoying their roles. However, at times, the actors’ voices were so distinctive that it became hard not to picture the actors themselves rather than the characters.

Scarlett Johansson’s voice, for instance, felt somewhat out of place—both too recognizable and too mature for the role she was playing. A similar effect occurred with Chris Hemsworth, though he modulated his voice enough throughout the film to give his character a fresh edge. Only in a few scenes did he sound unmistakably like Chris. Brian Tyree Henry blended seamlessly with his character, and Keegan Michael Key appeared completely at home in this world, skillfully masking his voice behind his character. The standout was Jon Hamm, who modulated his voice so well that for the entire film, I thought I was listening to Antony Starr, with his distinctive “Homelander”-like tone from “The Boys”.

The new “Transformers” film is light, easy, and enjoyable. Though it touches on serious themes, it does so within the framework of an action movie, relying on familiar storytelling techniques. Nothing in the film will surprise or astonish viewers, delivering exactly what fans expect. That’s why “Transformers ONE” feels like the perfect “airplane movie”—colorful, bombastic, and dynamic, but not requiring a huge screen to enjoy. It’s a fun, unchallenging movie that entertains while it lasts, but it won’t leave a lasting impression.

In my personal ranking of “Transformers” films, this one falls somewhere in the middle. While it won’t be my favorite in the series, I don’t regret the time spent with these characters. Sometimes, lighthearted, popcorn entertainment is exactly what we need. In my review of “Transformers: The Rise of the Beasts“, I called it a “decent flick” and a “solid blockbuster.” This time, I won’t use those words because “Transformers One” is simply fine. Nothing more, nothing less. But sometimes, that’s all you need.

At the same time, I have the feeling that no matter what I write, “Transformers ONE” is probably a must-watch for fans of the series, so I don’t need to convince them much. As for everyone else, they might enjoy it, but they don’t have to. If you do decide to watch, be sure to stay until the very end for the best speech in the entire movie, which cleverly explains a very iconic name.