The classic story of the Japanese attack on Pearl Harbor is told through the eyes of two boyhood friends, now serving as officers in the Army Air Corps. Rafe is an energetic young pilot who is selected to fly with the British in Europe while America is still not at war. After Rafe is shot down and presumed killed, however, Danny comforts Rafe’s former lover, Evelyn, and the two draw closer. But, when Rafe turns up alive, the two former friends become enemies, and it is through the turmoil of Pearl Harbor that the two may reconcile their differences.
With his knack for staging visually flashy blockbuster mayhem, Michael Bay became the commercial leader among a new, 1990s generation of advertising-and-MTV-bred directors. Hollywood to the core, Bay has claimed that he was the illegitimate child of a popular director of the 1970s — although he won’t reveal who — and was given up for adoption at birth. Raised in Los Angeles, he spent his childhood staging Super-8 action movies. He studied film at Wesleyan University and the Pasadena Arts Center, where a Coke commercial he shot as a student project attracted offers to make the real thing. His Coke, Nike, Budweiser, and award-winning “Got Milk?” ads resulted in a 1994 Director’s Guild nomination for Best Commercial Director. He was then tapped by producers Don Simpson and Jerry Bruckheimer to make the kind of slick escapism that defined their 1980s heyday; Bay’s directorial debut, Bad Boys (1995), became a star-maker for Will Smith and Martin Lawrence.
Bay made his movie name with… read more
Oh my...where to start with this one. A noble effort from the start, but almost painfully so. Bay's attempt to recreate the feel of a 1940s war picture feels strained and contrived, and fatally unfocused. Randal Wallace's script has cheese and self conscious earnestness to spare. But that attack sequence, oh that attack sequence, may be the finest thing Bay has ever directed. An unwieldy mess, but not without merits.