Rating: « out of 4

Running Time: 150 minutes

If you’re a big fan of this series of features, then you will be pleased to learn that you’ll get exactly what you were hoping for from the fifth installment, Transformers: The Last Knight. Sadly, this particular reviewer isn’t an enthusiast. Instead, I found that despite the nonstop action and noise, the movie wasn’t particularly exciting. In fact, it had a really difficult time keeping my attention.

As the film begins, viewers are told that there is an ongoing battle between the leftover robots and the human organization known as T.R.F. (Transformers Reaction Force). These well-armed, technologically advanced soldiers are out to capture or destroy all the transformers. Apparently, they’re doing a really terrible job because the robots appear to be just about everywhere blowing things up. This is particularly apparent within a small, blocked off area of Chicago where several pop up out of the blue. As if that isn’t enough to fill up the quarantined zone, Cade Yeager (Mark Wahlberg) comes driving in and assists Izabella (Isabela Moner), a young orphaned girl still living in the area.

There’s more absurdity when, via a lengthy flashback, we learn that transformers have been on the planet since the time of King Arthur. Apparently, during this period they created an all powerful weapon. Through time, a hidden society has kept the transformers a secret, even though the robots are revealed to have fought in and effected the outcome of all recent history’s major events. With the creator of the transformers, Quintessa (Gemma Chan), on her way from space to destroy the Earth, the heroes seek out this magic power. Of course, the T.R.F. also want the weapon. They make a deal with evil transformer Megatron to get it for them first. He agrees, but only if they release his captured Decepticons (one of whom is in prison for a bank robbery).

Sounds pretty stupid, doesn’t it? This is just a sample of the many head-scratching elements making up the story. It is complete and utter nonsense. And in general, I’m okay with nonsense as long as it’s fun. Unfortunately, there isn’t much here that entertains. The human performances are as broad as can be (after all, they have to compete with the visual effects). And as for the Autobots, the verbal jabs are about as subtle and funny as being beaten over the head with a plank of wood. When most of the dialogue, banter and character development consists of, “I will f-you up,” and, “Let’s kick ass,” it doesn’t really matter what is happening onscreen. There’s literally no one here to relate to or cheer for.

The one thing that the movie has going for it are some impressive visuals. As expected, the special effects are quite good. Towards the climax, the characters travel to the bottom of an ocean to find a lost spaceship. The large craft’s design and appearance is striking. One can’t argue that great care hasn’t been taken with making the film look spectacular. Although if one does see it in IMAX, its appearance still manages to suffer. The film constantly changes aspect ratio from 1.43:1 to 2.00:1 with each fast-cutting shot. I can see complete scenes being filmed in different formats, but it actually becomes distracting to cut back and forth dozens of times within the same scene. As for the climactic battle, it goes on for so long that it eventually becomes tiring.

I know, everyone enjoys a different sort of popcorn entertainment and for some the impressive effects of Transformers: The Last Knight will do the trick. However, for me the movie is similar to nonsensically banging your head against a wall for two and a half hours; it’s loud, repetitive and just ends up hurting your brain (or at the very least, gives you a splitting headache).

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By Glenn Kay
For the Sun

A woman who showed up to the Cibola General Hospital in Grants with a gunshot wound brought out officers from the New Mexico State Police.

The New Mexico State Police Investigations Bureau was called and took over the investigation, which revealed that a man identified as Deandre Mirabal, 23, of Grants, and the female victim, Raquel Morales, 21, of Grants, were traveling west in a Ford Mustang on Interstate 40 when they got into an argument and Mirabal produced a firearm.

Near Milepost 85, the woman, who was driving, tried to grab the weapon from Mirabal and then the altercation became physical.

During the struggle for the gun, it went off and hit the woman in the head. Mirabal managed to bring the car to a stop from his location in the passenger seat. He then drove to Cibola General Hospital.

The woman was treated and flown to the University of New Mexico Hospital in Albuquerque where she was reportedly in critical condition as of Oct. 29. She succumbed to her injuries on Oct. 31.

An arrest warrant was issued out of of the Cibola County Magistrate Court for Aggravated Battery with a Deadly Weapon. On Oct. 28 Deandre Mirabal was arrested without incident and booked into the Cibola County Core Civic Correctional Center in Milan, N.M.

An amended arrest warrant was issued Nov. 1 from the Cibola County Magistrate Court. Mirabal was charged with Second Degree Murder.

The New Mexico State Police Investigations Bureau agents are working to independently determine the series of events leading to the shooting, including collecting evidence and conducting interviews. Throughout the process, investigative findings will be shared with the district attorney for their review and consideration.

Artist Eric-Paul Riege tells his story

Gallup local Eric-Paul Riege, 23, artistic talents have caught the attention of the art world with his larger-than-life installations that spotlight Diné traditions with a bit of a twist, and contemporary appeal.

Riege currently has a few installations hanging at Art123 in Gallup.

Riege who is half Dineh and Anglo, was influenced at an early age while living on the reservation in Iyanbito. Asking how he got into art, Riege said he came from a family of artists. His grandmother was a master weaver from Burntwater, Ariz., his mother made quilts and sewed his clothes, and later taught Riege how to sew. In high school he took art classes to fuel his creative passion.

Recently graduating from the University of New Mexico with a Bachelors of Fine Arts, Riege returned to his roots to showcase his art. He calls his art “inter-disciplinary,” as his pieces are created by using textiles, weaving, and installation/performance art.

He says it was a tedious project, but it paid off.

“It was a lot, but it definitely did pay off. I was always a creative thinker and problem solver,” he said. “When it came to that point of my life, I wanted to do something that I knew I was good at and that I would be happy at doing for the rest of my life, so I continued and pursued it.”

Art123 Gallery Executive Director Rose Eason says his art has such an unique appeal, one cannot help but stare at it.

“I think it’s really exciting … I’m super happy that he’s back in Gallup and we’re able to share his work here,” she said. “He’s a really interesting artist, taking old techniques and fiber art and doing something completely new with it, and expressing a really unique vision that I’m actually proud to have here showcased in Gallup.”

One piece in particular is a pair of jumbo turquoise earrings displayed in the window. It’s made of fabric that’s sewn and stuffed.

Riege calls this, “Yoo 4 Yé’iitsoh (necklace for the Big God).”

According to Riege, there’s no word for earrings in Navajo, so he gave it an alternative title. It’s part of a series of pieces that represents the grandfather and grandmother in his Diné culture, and the ties of his family.

Eason says this piece really grabs your attention and that in itself is a huge plus.

“It’s so cool, just something about it and you really can’t put your finger on why it’s so cool,” she said. “Except it’s taking something that has such a long history and that it’s iconic in a way, and putting a totally whole new spin on it. It’s so hyper-creative that grabs you and makes you appreciate it in a different way and ... which it can’t be hard to be surprised by something you almost see every day.”

Onlooker, Wilmer Lomayaktewa says the earrings piece captivated him as well.

“I thought the earrings were so cool, so simple yet so memorizing to look at,” he said. “Almost a childlike toy to look at. I’d pass by it one day and just stared at it.”

Another unique piece entitled “Dibe (butchering sheep)” is a sheep that is made up from cloth material, hanging upside down with red beads sprinkling down to resemble blood as it had been butchered.

“From my perspective, it’s of the sheep that is taken away by the government and escapes, and it’s now searching around the reservation for his grandma. Traditionally, you are not supposed to have empathy for that sheep for its offering for our survival to the Dineh.”

Riege says the sheep have given us textiles for weaving with its wool and food. Part of his thesis in college tells of his family that was affected by the animal reduction plan on the Navajo Reservation and this piece represents that.

His art is a must to see. Having done a couple shows in Albuquerque and Santa Fe, Riege will have a solo show in Gallup Sept. 9, during ArtsCrawl.

Riege hasn’t sold any pieces yet – this due to the fact he simply doesn’t want to part with his art, he jokingly says.

“It’s mainly because I’m way too attach of my art and that’s my own downfall,” he said. “I reuse my art a lot. I take it apart and make new art from it. Materials can be expensive too, so I recycle and also most of my pieces have a story with it. I redevelop it into a whole new story of what it can be now.”

Hoping to continue making his art, and gaining financial support for it, Riege wants to pursue his Masters degree and become an art professor.

“That’s my plan, but of course that could change,” he said. “I also want to teach workshops and go to different places on the reservation and teach little children weaving workshops.”

For more information on Eric-Paul Riege contact the Art123 Gallery at (505) 488-2136.

By Dee Velasco
For the Sun

Rating: «« out of 4

Running Time: 110 min.

Ever thought that the only problem with the classic Universal Monsters series was that they needed to team up and form an underground league to fight greater evil? I didn’t think so, but that is the tack that has officially been taken. The Mummy is an attempt to start a new “Dark Universe” series of films that will eventually combine characters like Frankenstein’s Monster, The Invisible Man and The Creature from the Black Lagoon. While I’ll admit to being amused by the idea of these monsters coming together (personally, I think they should fight crime while tackling their various psychological issues), based on their first attempt the studio hasn’t yet found the right approach.

The story begins with greedy soldier/treasure-hunter Nick Morton (Tom Cruise) and his pal Chris (Jake Johnson) accidentally uncovering the tomb of Egyptian princess Ahmanet (Sofia Boutella). They enter with archeologist Jenny Halsey (Annabelle Wallis) and get more than they bargained for. Ahmanet was mummified while alive as punishment for making a deal with the Devil for revenge against humanity. Now, she wants to complete a ritual that will bring the evil force back, and she needs Nick to supply the body. Stepping in to offer assistance to the group is a mysterious London-based organization headed by Dr. Henry Jekyll (Russell Crowe).

There are some entertaining moments. A sequence with an out of control plane featuring the characters being bounced around looks impressive as does a scene that involves swimming mummies. A couple of quips and reactions from Morton also raise a chuckle.

The movie’s emphasis on action (with the occasional hints of creepiness thrown in) may impress youngsters unfamiliar with the characters.

However, those familiar with the creature features will note the many bits and pieces sewn together from other horror films. Obviously, The Avengers has inspired this new monster team-up universe, but the movie also borrows elements (from threatening bugs to a treasure hunting protagonist) from the 1999 remake as well. Even the mummies featured share characteristics more in common with vampires and fast-moving zombies.

Horror fans will also notice scenes that bear close similarity to pictures like An American Werewolf in London and Lifeforce, yet lacking the same kind of witty, crazed panache.

There are also some serious pacing issues that ultimately make it seem as though the sum is less than the whole of the parts. The editing feels muddled, choppy and at times clumsily executed. People jump around a lot from location to location, and while there’s sometimes a justification for it, on numerous occasions the strange cutting takes one out of the story. The movie is in a big rush, but it comes at the expense of story and character and feels exhausting at times.

Truthfully, there’s not a whole lot of chemistry between the stars, either. A lot of the interplay falls flat and that leaves viewers less involved with the primary relationship within the film. None of the cast members are particularly helped by some stiff and at time corny dialogue that includes (paraphrased) lines like, “Maybe it takes a monster to defeat a monster.” The entire enterprise is a bit too stiff and serious for its own good, needing a sharper sense of humor.

Would I want to see these characters team up and get involved in more adventures? Not really, and this is coming from a Universal Monsters fan. In the end, The Mummy has a few interesting moments but doesn’t quite come together, eventually unraveling thanks to a problematic screenplay. One can only hope that future chapters in the “Dark Universe” get a better handle on some of these classic characters and deliver a bigger punch.

For more awesome movie and DVD reviews, visit: cinemastance.com

By Glenn Kay
For the Sun