Bay-Bruckheimer predictable as ever

Rating: Null/10 (25 May 2001)

Given the previous Michael Bay-Jerry Bruckheimer offerings, "Pearl
Harbor" is precisely what you'd expect it to be: a visually arresting
monster with attractive leads, formulaic plotting, two-dimensional
characterizations, and jingoistic appeals to our patriotism that are
about as subtle as a giant American flag flying over a Perkins
Pancake House.
I've got to admit, I had hoped that Bay would at least attempt to
make this his "Titanic" - a full-body workout for the special-effects
guys that somehow also tells a good story. But this is pure drivel. It
certainly shows every dollar of its titanic budget, but unlike James
Cameron's film, "Pearl Harbor" does not transcend its origins.
"Pearl Harbor" is made to do one thing very well: reap
thirteen-year-old kids' allowance money. Consider the inevitable
triage scene at the naval hospital, where the camera shots of
agony and gore were purposely flashed and blurred in post-production so the movie could garner its coveted PG-13
rating.
Given the relative skill of its actors and its colossal production
values, "Pearl Harbor" could have been a fine movie in the hands
of a more competent director and a more courageous producer.
But Bay and Bruckheimer are doing what they have always done.
They've pleased their backers with the lowest common denominator of summertime fluff. If you want battle verisimilitude,
see "Saving Private Ryan." If you want a love triangle in the midst of
war, see "Enemy At The Gates." And shoot, baby, if you've
absolutely GOT to see a Pearl Harbor love story, take a look at the
only good one ever made: "From Here To Eternity."