‘Transformers One’ Tells a Grandiose Origin Story With Space Opera Flair 

Alci Rengifo

Animation can sometimes be the saving grace of an overstretched franchise. After 17 years of live action movies and spinoffs, not to mention previous decades of cartoons and toys, it would be understandable to hear news of a new “Transformers” movie with healthy skepticism. “Transformers One” is a refreshing surprise that uses animation to recharge the series without shortchanging its younger and older audiences. It feels influenced by various animation styles, classic sci-fi and even a dose of social subtext. Instead of dumbing itself down, the movie takes its fantasy seriously enough to where the uninitiated might put aside their general questions about the logic of the whole premise. 

There are no earthlings getting in the way this time. The plot is a prequel set in Iacon City on the planet Cybertron, home of the franchise’s famous droids. Two in particular, Orion (Chris Hemsworth) and D-16 (Brian Tyree Henry) work as miners accumulating Energon, the planet’s prime energy source. Orion is willing to dream of life beyond servitude while D-16 plays it safe. Then, Orion enters them into a race overseen by Sentinel Prime (Jon Hamm), the last of the Prime droids who were killed by the alien species known as Quintessons. Despite not having the cog that allows robots of a higher standing to transform, Orion and D-16 make quite the impression during the race. No glamor for these two and they are tossed into the equivalent of Iacon’s basement where they meet the jumpy B-127 (Keegan-Michael Key). Yet, redemption is possible when the trio link up with Elita-1 (Scarlett Johansson), our heroes’ former supervisor in the mines, and venture to the surface in search of the missing Matrix of Leadership. Legend tells of this object having the power to restore an endless flow of Energon to all of Cybertron.

Once all the cyber and tron phrases are explained, “Transformers One” continues as a strong animated adventure with unique sights and a story packed with convincing stakes. Director Josh Cooley’s credits include “Toy Story 4,” so he knows how to find that good balance of mature themes and visual exuberance. This franchise has always been visually inventive, going back to 1986’s “The Transformers: The Movie” and Michael Bay’s kinetic live-action blockbusters from the 2000s and 2010s. Cooley elevates the tradition by seeming to borrow from anime and dystopian science fiction. Iacon City looks like a robotic fusion of the worlds from Rintaro’s “Metropolis” and “Blade Runner.” The superior transformers live on the higher levels while the miners toil below, stripped of the ability to transform. A thrilling droid race through the city feels taken out of “Tron: Legacy” while a trip to the surface is animated with rich twilights against arctic landscapes. 

One of the key studios behind the project is Industrial Light & Magic, the special effects powerhouse. However, without a good story this would just be a visually impressive distraction. The screenplay by Eric Pearson, Andrew Barrer and Gabriel Ferrari is a strong Transformers tale but also a classic adventure yarn. Dark humor is thrown in like B-127 practically losing his mind from being alone so long in the Iacon underground, creating makeshift friends out of robot parts. Our traveling heroes bump into Decepticon Starscream (a great Steve Buscemi) whose troops will play a major part in what follows. Yet, the driving theme is how fragile a friendship can be. Fans of the franchise already know Orion is destined to become the heroic Optimus Prime and D-16 the villainous Megatron. Following the story is similar to tracing the path of Anakin Skywalker to Darth Vader in the “Star Wars” prequels. Like a good myth, the narrative becomes both simple but thoughtful. Other corners of the story toss in themes about colonization, collaborators and the ethics of doing the right thing.

 As the odyssey continues, Orion and D-16 make shocking discoveries about Sentinel Prime and a climactic battle involving the Quintessons, realizing they are capable of much more than being Energon miners. The prerequisite chases and standoffs take place, but both characters begin to develop different reactions to events. Orion discovers leadership qualities while D-16 is tempted by the way power can give control and the ability to carry out revenge. We know he has to grow darker. It is how “Transformers One” tells the story that gives it even a bit of genuine pathos. That is the sort of statement the nonfan might find puzzling. We are talking here about robots that transform into vehicles, which we do get plenty of once our heroes find their needed cogs. If you’re an unfamiliar viewer who by chance happens to be at a show time for this movie, just put preconceptions aside and enjoy what amounts to old-fashioned space opera. Brian Tyler’s music score isn’t constantly interrupted by needle drops and gives the action a big, orchestral sheen. When the friendship finally ruptures and Orion becomes Optimus and D-16 turns into the power-hungry Megatron, it feels genuinely tragic. Look at this way, at least the younger audience members will be getting some real lessons in drama instead of just another shallow nostalgia rehash.

“Transformers One” releases Sept. 20 in theaters nationwide.