Entertainment

Now Showing: Transformers One is a well-woven story of origin stories

Published

September 20, 2024

On the 40th year anniversary of the airing of the first ever Transformers series episode, it’s only fitting that the popular Hasbro creation has gone back to its roots. It’s not totally new for a film franchise to execute this, but at some point after decades, you just feel that some cycles have to restart anew.

I’ll be the one to admit that my prior knowledge about Transformers is quite limited. That’s even though I am a millennial. I’m no match for those who have absorbed the original series, comics, and more related content.

I am well aware of the general Autobots-versus-Decepticons narrative. I also the some of the biggest characters in the grand scheme of things. And yes, I’ve seen the previous big screen installments — including five Bayformers movies — which didn’t really do any good in expanding that knowledge database of mine.

So it’s refreshing to finally see a well-written, well-formulated origin story that solves all the loose ends (at least from my perspective) and kind of complements what I already know as a casual, while also getting me giddy excited for what’s about to come.

Yes, Josh Cooley and everyone behind Transformers One were able to be that impactful.

⚠️ Warning: Some spoilers ahead! ⚠️

A Transformers movie about… well, the Transformers

While we did get faint mentions of Cybertron’s origins in some of the previous Michael Bay movies, as well as the war that had transpired there in the 1980s (in the big screen continuity) before the Autobots sought refuge on earth, there were just so many loose ends.

The two Mark Wahlberg films, in particular, made it even more confusing for me even if it also mentioned something about the original 12 Primes.

We got a lot more information about Cybertron from the Bumblebee franchise reboot, but it was still limited to the war that had transpired in that world.

It’s just so great to see a Transformers film that revolved around the transformers themselves. No humans. No military (and intelligence) personnel. Not even unnecessary sexual elements. Just good plain transformable robots. It wasn’t even a few minutes into the film when we saw the first transformations to keep us engaged.

That said, it’s quite understandable why there were human-centric narratives in the films that preceded, simply because of the status quo wherein transformers have already been coexisting with humans on Earth.

But still. In Transformers One, we got to know Orion Pax, D-16, B-127, and Elita One in-depth and who they used to be before all the other films.

Well-woven story of origin stories

What’s great about Transformers One is that it also interlaced Megatron’s own villain origin story within the bigger plot of Cybertron’s dark secrets and the transformers’ more general origin story. In fact, it looked more of a web of origin stories rather than just one.

We saw how D-16 turned into the sinister, revenge-thirsty Megatron persona that he is after being lied to all these years by who he thought was a role model.

Meanwhile, Orion Pax’s transformation (pun intended) to Optimus Prime was also highlighted towards the end.

Sure, there was some exposition from Laurence Fishburne’s Alpha Trion, but the film’s creators made sure to limit that so that it didn’t take up too long of the screen time. It was forgivable and wasn’t too “explanatory”.

Can we talk about the voice cast for a moment?

Chris Hemsworth is no Peter Cullen, and never will be. But he was able to give Optimus Prime a distinctive voice that’s authoritative and commanding in a good way.

So much so that towards the end, when Prime was already giving his usual goosebumps-inducing speech, it didn’t even feel like it was the Thor actor providing the voice for the franchise protagonist. Instead, it was just Prime being Prime.

Ditto with Brian Henry’s Megatron. Of course, we’ve seen him do the last two Legendary films involving Godzilla and Kong as more of a funnier guy to complement the main actors.

His role in Transformers One was just as impressive. He gave life and personality to D-16/Megatron, especially after the heel turn once he found out he (and the whole of Iacon) was only betrayed by Sentinel Prime.

Keegan-Michael Key, of course, was his entertaining and goofy self as B-127, providing a balance to the chemistry. Naturally, Black Widow star Scarlett Johansson gave authority too to Elita One.

Detailed

Ultimately, the various movie elements were fused together with solid screenplay. I loved how detailed it got, with references to everything about the Hasbro line to the origin of the Autobots and Decepticons’ respective battle cries.

There was even that one specific dialogue that referenced Keegan-Michael Key’s “Substitute Teacher” skit from Key and Peele.

Quite frankly, I’m amazed how the puzzle pieces just fit nicely as the movie progressed. The film made sure to cover everything.

One by one, the masterpiece was able to touch on how the cogs were taken away from the residents of Iacon, to how talkative B-127 was while serving as a worker of the lowest possible class.

Honestly, I’d lose my mind too and just start talking a lot. But it also reminds us of the stark contrast between this B-127 and the Bumblebee that came to Earth who eventually became mute.

Even how Starscream got his distorted voice from a Megatron chokehold was something I didn’t know prior. He also apparently led his bandit group as a third side in the film, before becoming subordinates to Megatron in future stories along with Soundwave and Shockwave.

Well-written

But what’s great about all these is that they weren’t just introduced in random spurts throughout the film. There was an appropriate order, and they were all still glued to the main plot. Considering how much details were incorporated; I was impressed as it didn’t need to get too expository.

Towards the end, Orion Pax became Optimus Prime, being handed the Matrix of Leadership by the original Primes for his sacrifice. Optimus and his group renamed themselves as the Autobots, having the power not only to transform but to also be autonomous and make their own decisions.

On the other hand, Megatron was banished from society. That’s in spite of what he felt was a heroic deed by standing up against Sentinel Prime. These events irked him even more. Eventually, the Decepticons were born, with the mission to “rise up” against what they felt was a deceptive brand of leadership from Optimus.

Now, a revolt-against-the-tyrant narrative isn’t something we haven’t seen before from other franchises, but aids in telling the characters’ individual origin stories.

No Linkin Park song, sadly

As expected, this movie also didn’t have a Linkin Park song unlike the distinctive credit scenes from the previous Michael Bay offerings.

However, this element from those movies was something I would have wanted retained here. Linkin Park’s new song, “The Emptiness Machine” actually encapsulates the betrayal. Just peep this excerpt from the lyrics:

Let you cut me open just to watch me bleed
Gave up who I am for who you wanted me to be
Don’t know why I’m hopin’ for what I won’t receive
Fallin’ for the promise of the emptiness machine
The emptiness machine (I only wanted to be part of something)

Of course, Sentinel Prime misled Iacon, especially the miners, into thinking he was a role model. Yet in the end, the “leader” turned out to be a fake, only spewing false promises while being a sellout for the Quintessons.

And Megatron was among those who fell for that scheme and took it to heart. It’s unfortunate, because if you think about it, he did just want to be part of something.

But I know the movie was already in production prior to the release of this song. It would have been difficult to have it added in the last minute.

Hopefully, if there is a next installment, it can complement the dejected Megatron’s vengeful quest. Because we all know that’s where we’re headed, right?

Prequel trilogy in the making?

It’s exciting times for the Transformers franchise as far as its big screen presence is concerned. Transformers One could well set up a prequel trilogy in the making.

The movie itself already revealed hints. None of which was bigger than the end-credits scene where Megatron is staging a revolt of his own against the now leader of Cybertron.

There could be a transition film as well that may focus on Elita One as well. The resolution also showed Scarlett Johansson’s character becoming Optimus’ deputy. But from what I’ve read, she’s also his love interest.

Neither did she have prior big screen presence. So, it would be interesting to see if the next film would revolve around her, before the imminent war on Cybertron.

Your Cinematch?

Let’s just pull up our managing editor’s Watch scale:

Watch ASAP
Watch at your convenience
Wait for crowd/ hype to trickle down
Wait on streaming
Skip

Transformers One isn’t just a prequel about Cybertron’s pre-war state. What we saw on the trailers before the film came out was just the tip of the iceberg. I’m saying it’s at least a Watch at your convenience movie for casuals and Watch ASAP for those who are really into Hasbro’s iconic toys.

The movie took us for a ride — from the depths of Iacon to the surface. It truly walks the “more than meets the eye” talk. There’s Optimus Prime and how always viewed things from a larger scale. There’s also the dark origin to Megatron’s villain story. And there’s everyone else around them who played a part.

I left the cinema knowing more about the entire saga than when I entered, and despite all the prior films I’ve watched.

And yet, Transformers One isn’t just about the two ex-best friends’ story either. In its entirety, the film gives us what we need to know and keeps us glued for what’s about to come.

Entertainment

PH to celebrate 1st ever National Cinema Day; movies start at less than $2

Watch a movie on September 12 for a fraction of the cost

Published

September 10, 2026

GadgetMatch

The Philippines will be celebrating its first ever National Cinema Day on September 12. On this day, movie tickets will go for as low as PhP 100 (US$ 1.60) at regular 2D cinemas.

The campaign aims to make moviegoing more accessible to audiences. This includes families, friends, students, and cinephiles in general.

Such initiative has been a staple in other countries, like the United States, United Kingdom, Spain, Germany, Australia, New Zealand, and more. The same concept applies, with movie tickets going on sale for a lot less.

What’s great about the celebration is that all movies scheduled for exhibition on September 12, whether local or international, shall get the special admission price.

Advanced tickets sales have already begun. Customers can purchase through participating box offices, official websites, mobile apps, and authorized platforms.

Tickets will be sold on a first-come, first-served basis and remain subject to theater capacity. Prices vary for other viewing formats like Director’s Club or IMAX, for instance.

The campaign is organized by the Cinema Exhibitors Association of the Philippines (CEAP), along with industry and government partners.

The initiative is supported by the Film Academy of the Philippines (FAP), Film Development Council of the Philippines (FDCP), Movie and Television Review and Classification Board (MTRCB), and the Metro Manila Film Festival through the MMDA.

Participating cinemas include Ayala Malls Cinemas, SM Cinemas, Robinsons Movieworld, CityMall Cinema, Megaworld Cinemas, and more.

Entertainment

Now Playing: The Dog Stars

The supposed post-apocalyptic thriller fails to deliver

Published

August 29, 2026

Manila Connoisseur

All photos c/o 20th Century Studios

It’s easy to mistake The Dog Stars for a canine-centric survival tale if you aren’t familiar with the source material.

Peter Heller’s 2012 novel uses the title as a double meaning — referencing both the star Sirius within the Canis Major constellation (hence, “the Dog Star”) and the very real bond between a man and his dog.

In Ridley Scott’s cinematic adaptation, the premise delivers a grounded, post-pandemic world devastated by a global flu. The narrative is driven by a mysterious radio transmission intercepted by Jacob Elordi’s Hig, a quiet pilot pushed by grief and an irrepressible human curiosity to see what’s left of the world beyond his refuge.

With a stacked cast, a legendary director, and rich thematic material, general moviegoers and book fans alike have plenty of reason to expect a post-apocalyptic thriller.

Sadly, as an adaptation, The Dog Stars underwhelms. What promises to be an edge-of-your-seat survival ride settles into a surprisingly dull story that lacks the punch of a post-apocalyptic thriller.

It isn’t a bad film, but it struggles to balance its atmospheric build-up with a rushed, squandered third act.

⚠️ Warning: Some spoilers ahead! ⚠️

Ridley Scott’s signature touch

For what it’s worth, Scott doesn’t take long to make his visual presence felt. The director fills the screen with sweeping tracking shots of Hig’s Cessna plane gliding over vast mountain ranges.

This is juxtaposed with melancholic, muted sequences of his daily survival routine with Josh Brolin’s Bangley.

There is a sense of desolation; unaddressed grief for Hig’s late wife and the sheer fatigue of scavenging alongside his loyal Belgian Malinois, Jasper.

The quiet routine switches gears dramatically during action sequences. Scott brings dynamic flair to the screen. Notably, when Bangley holds off a horde of Reapers, the cinematography turns into a video game-esque, FPS-style night-vision POV shot.

Ditto with the high-stakes chase at Margaret Qualley’s Cima’s place, and during the final act in the trap that is Grand Junction.

Brolin and Pearce anchor the wasteland

What’s problematic here is that the lead supports, Josh Brolin and Guy Pearce, give the film its most grounded and reliable energy.

Fresh off playing a father searching for answers in Weapons, Brolin again slips effortless into his role of Bangley.

This badass survivalist with ex-Marine credentials complement Hig with a contrasting manner, making defending their abandoned airstrip look routine.

The initial friction between Hig and Bangley also drives the film’s early momentum. Bangley is perfectly content just chilling at the airstrip, while Hig is consumed by a curiosity to see what’s left on the other side of the horizon given the tools he has.

Bangley eventually concedes to Hig’s urge to chase the radio signal, but gets an earned “I told you so” moment near the end. This is fittingly a chef’s kiss to his character’s consistent demeanor.

Yet you don’t mistake Bangley’s isolation for passivity as well. He is practically itching for a reason to unleash a barnyard full of weapons (pun not intended) he’s been hoarding. It’s as if treating the invading Reapers like the ultimate survival battle he’s eagerly been waiting for in the post-pandemic world.

Complementing this heavy-duty presence is Guy Pearce’s Pops. His fiercely overprotective father persona to Cima steals the spotlight given how everyone is cherishing what’s (or who’s) left.

There are sharp one-liners aimed at keeping Hig at arm’s length, as he’s understandably paranoid after surviving the apocalypse.

Together, these are two highly enjoyable flavors of post-apocalyptic fatherhood. Eventually, Bangley warms up as the entire protagonist group relocates to integrate with the Mennonites in the end.

Pacing turbulence, squandered climax

The film’s momentum begins to stall in the second half. Once Hig crash-lands and meets Cima nad Pops, the narrative slows down considerably.

Sure, it’s a way to establish the emotional foundation and romantic spark between the couple for audiences unfamiliar with Heller’s novel. Perhaps, an attempt to balance the quiet character work with the surrounding chaos.

However, the scales still tip heavily toward sluggish pacing, with the film losing much of the earned tension. This turns what should have been a tense journey into a noticeably dull movie experience.

Quite ironically, this is where Elordi and Qualley’s acting shines the most. It doesn’t help that there is an exposition-heavy writing as you just wait for a climactic finale to unfold, yet it never quite materializes.

By the time the story finally moves to Grand Junction, what should have been a defining act feels like a rushed afterthought.

Given the creative independence, Grand Junction could have been executed like a harrowing, inescapable maze. More frustratingly, the film completely drops the ball on its most disturbing revelation.

When the group stumbles upon roomfuls of discarded passports and piles of dead bodies, it should have been a heart-stopping, horror-thriller pivot. It’s the ultimate “we are completely fucked” moment, exposing the radio signal as a trap rather than a beacon of hope.

Had the film leaned into this nightmare, it would have rolled out the red carpet for Scott to flash his brilliance even further, recalling the tight, claustrophobic dread he mastered in Alien.

Instead, the movie glances past it in a split second. The protagonists overpower the opposition far too easily, robbing the climax of any real danger or lingering tension.

Should you watch it?

Undeniably, The Dog Stars movie succeeds in grounding itself on the human side of post-pandemic survival.

This isn’t a high-octane, “suspend-your-disbelief” blockbuster stuffed with outrageous sci-fi gimmicks; it is a thoroughly logical, realistic look at how real people would handle isolation, grief, and the instinct to rebuild community after everything crumbles.

The film’s core ideas are sound, and its emotional logic is intact. Still, it simply lacks the sharp execution and narrative punch needed to elevate it into a masterpiece.

On our Watch Scale, it falls under Wait on streaming. There’s plenty of technical flair and solid performances from grizzled veterans, but the rushed finale and missed horror-thriller pivot leaves you wishing Scott had been allowed to unleash the full extent of his cinematic powers.

Entertainment

UNDERTALE: The Determination Symphony gets two more shows

Both shows will be held on the next day.

Published

August 21, 2026

Luigi Leonardo

The Philippines has an unquenchable love for game-based concerts (so *wink wink* please bring more of them). Though these concerts do generate a lot of hype, the drawback is that they often sell out way before most fans can grab tickets. If you’re an UNDERTALE fan, that experience might be rocking you right now, as both shows have already sold out. But fear not: UNDERTALE: The Determination Symphony has just opened two more shows.

Late last month, Film Concerts PH, in partnership with SOHO Live, announced UNDERTALE: The Determination Symphony happening on October 17. As expected, both shows, at 3pm and at 7pm, sold out very quickly after sales opened.

Today, the concert experience is opening two more shows on the next day, October 18. Like the original date, the two shows will happen at 3pm and at 7pm, allowing more fans to experience the concert.

The concert will be performed by the Filharmonika Orchestra and conducted by Thanapol Setabrahmana. Personally curated by creator Toby Fox and developed by Lambert Jackson with Materia Music, the concert experience showcases the game’s most recognizable tunes laid over gameplay footage playing simultaneously. Plus, for the world tour, the experience will have expanded scoring.

Tickets are available through Ticketmelon. Both dates will be held at The Proscenium Theater in Makati.