The premise of Transformers One can also be labeled as a discarded version of the MCU. The rise of an underdog to that of a messiah is a formula template in many ways. But there are many things that work from a writing point of view. On celluloid, we are often exposed to the hierarchial style of functioning in different walks of life, a concept that is also adopted here for the machines. The division is clear here – the machines having powers to transform are regarded at ‘higher’ positions while the ones without powers are left to do a lot of the heavy lifting, just like the protagonist and his metallic-friend here. The commentary on the divisive hierarchies instantly allows you to form a connect while allowing you space to invest in the journey of the protagonist over the course of its screenplay standing at a shade under 2 hours. The writing might be simplistic catering to fan service of sorts, but it definitely makes a solid case for itself in terms of the entertainment quotient sprinkled with the right kind of emotions.

It is very early on in the drama that the writers drop a hint of what to expect from the drama here with the revelation of an entity titled ‘Matrix Of Leadership’, a superpower of sorts that is gifted to the chosen one. And an early indication reveals on where the drama is headed. Yet, the path that the writers choose from going from point A to point B is a good one considering that they play on perceptions and hold a few shocking revelations up their sleeves. And so while the characters navigate through the tides towards the surface, after an initial hiccup, you are well on your way to be invested in their journeys. One of the interesting facets of the drama is also the characterization, a byproduct of the early perceptions integrated in the plot. As a result, almost every major character here has a character arc, either branching from a low point to a high point, or from being good to bad, or even from bad to good. This basically meant that the leash of the story was always in the hands of the writers while maintaining a firm grip on the narrative.

The proceedings also follow the right beats of an MCU film. As a result, you see the integration of a goofy but affable character that is often shown to be a comic relief of sorts, lightening the mood of the drama at various junctures. These bouts of humour never make the film heavy at any point, even as the focus remains on the larger picture. The twist at the halfway mark is a good one before the drama undergoes a series of revelations before ending up as a major bout between the good and the evil. This, even as the drama amps up the entertainment quotient while having a steady buildup for the final face-off. I also enjoyed the last minute twist and its eventual payoff that was built on a very strong emotional foundation at the start of the film, leaving me with a bittersweet feeling at the end. There was so much to like here in terms of the emotions that were inculcated, thereby making this screenplay a winner all the way!