Dark shadows with deep blue hues. The visual aesthetic is so dramatic, so raw, so urban, so street, so gritty, so unrelenting.

It’s beautiful, but at the same time – it looks like the interior of a mother fucking Russian submarine.

These dark shadows and their deep blue hues are cast upon flaming motorcycles as they jump over the rolling trailers of semi-trucks, that erupt into inexplicably bright explosions as helicopters flail wildly about in a downward descent toward all of the chaos. Large, burly men leap over debris and surf on top of the renegade sparking cars as they’re pushed further and further down the freeway on a tidal wave of fire and chaos. All in dark shadows with deep blue hues.

Welcome to style over substance, indulgence before art, stylistic bastardization if you will. Welcome to the world of Michael Bay, where a camera must pan, dolly, or truck in each and every shot. Where the story to special effect ratio is collectively cluster fucked and the dialog was written with crayons by a retarded fifth grader.
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