It is Bay at his most unintentionally insightful, where his restless leg syndrome shooting style and machismo-laden humor poke fun at (and even critique) a military-industrial toy box that he’d spend most of his career happily tumping over. The prison break film (going in the reverse direction of most entries in its subgenre) is perhaps the only movie where Bay’s sensibilities have been reined in by his writers rather than the other way around. But maybe that’s why The Rock, the 1996 film that struggles most openly with its director, is his still best. The jock rock filmmaker’s explosion-heavy and quick-cut style has been parodied more often than his terrible, usually offensive sense of humor, but he’s one of few modern filmmakers where general audiences know what his name implies about the film.
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