Transformers: The Last Knight is wrong on so many levels.

I don't even feel the Transformers movies are worth the time it takes to talk about them anymore. Everyone has gladly come to the consensus that with each passing entry, Michael Bay's new signature franchise has actively gotten emptier, meaner, dumber, and more aggressively convoluted as they get bigger and louder. In an attempt to restore the series back to basics following the original trilogy's conclusion, the dreaded Age of Extinction only further dug the series into a rabbit hole. But with the removal of screenwriter Ehren Kruger, and this being Michael Bay's last foray into the war between the Autobots and Decepticons, one might have a slim bit of hope that this would be the least bit enjoyable...

...But man, you ain't seen nothing yet. The Last Knight is such old news and such a minuscule blip on the pop culture radar right now, I had no intentions of even giving it the decency of a full write-up. But no film this year has left me so angry, bitter, bored, and above all numb as this one. It's almost mesmerizing how a major blockbuster with one of the highest budgets of all time would manage not only to feel boring, but so incompetent at the same time.

It movie review.

Stephen King is one of the most singular creative voices in literature. Having forged a unique style primarily rooted in cult classic horror tales concerning the supernatural and evil animals. However, King's novels also afford filmmakers a chance at tremendous emotional heart and dramatic depth, sometimes with influence taken from King's own life and personal struggles. Frank Darabont and Rob Reiner are among those whose treatment of King's work has yielded great rewards, and even tends to highlight my feelings that while King is an admirable and inimitable writer, his stories are typically better accentuated by what other writers bring to his tales.

And much like last August's The Dark Tower, it's been a long road to the big screen for his popular 1986 novel It, which many may know was previously adapted into the ABC miniseries starring Tim Curry. But from what I've heard from fans of the Les Miserables sized book, that series did little justice to the material, whittling down its content to fit cable regulations and a three hour timeslot. With fans becoming eager to see the story done justice, Warner Bros. has decided to split the epic story into two separate chapters covering two different timelines, with this first entry, under the leadership of Mama director Andy Muschietti, following its core cast of characters as children. So how does the new take float...?