8 Subtle Ways Michael Bay's Movies Are Even Worse Than You Thought

5. Constant, Nauseating Movement

OK, so this is actually a key proponent of Bayhem itself, but it's something that is so often ignored alongside the more noticeable quirks of lens flare and slow mo, yet has a much bigger effect on the aesthetic feel of the film, that it needs highlighting properly. Bay's films never stop. Never. Right from the first frame right to the final landscape shot we're physically moving, the camera not halting its pans, zooms and general shaking. Even though a film can go fifteen minutes without an authentic action beat, there's no pause; nary a static shot. It's a very clear, immensely broad cinematography choice that shows at least a modicum of consideration for the audience (or the tripod budget), yet misses how utterly nauseating it can be without relenting. This is sometimes replicated by other, sometimes even worse directors, such as Olivier Megaton, whose Tak3n cut from moving shot to moving shot (sometimes only altering the angle minimally) so much it was as if he thought the audience had ADHD. Bay's execution isn't far behind.