Of course, Bay’s best film still shares many of the flaws of his lesser works -- there’s a hairdresser character that’s nothing more than a gay stereotype, it’s way too long, and women are almost non-existent -- but the movie retains a raw, elemental power. The script, reportedly punched up by both Aaron Sorkin and Quentin Tarantino, crackles with dark humor and quotable one-liners. The set pieces elicit genuine tension. The ending speaks to Bay's favorite theme: the complexity of male friendships created during times of great violence. And, yes, stuff blows up real good. -- Dan Jackson
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