Life is unpredictable. Only God knows what the future holds, or perhaps destiny already has its own plans. Some artists leave this world after sharing their extraordinary talent with millions, yet their unforgettable memories and remarkable work remain with us forever.
Today, I am talking about one such legendary artist, Peter Cullen, the Canadian voice actor who gave his unforgettable voice to the heroic Optimus Prime in the Transformers franchise. According to The Hollywood Reporter, Cullen, who also voiced the gloomy Eeyore in numerous Winnie the Pooh projects, has died at the age of 85.
Peter Cullen reportedly passed away peacefully at his home in Los Angeles, surrounded by his loving family. His family shared a heartfelt message asking people to honor his remarkable legacy by serving their communities, leading others with compassion, integrity, and loyalty, and remembering his famous words, “Be strong enough to be gentle.”
For every artist, their craft holds a special place in their life. They dedicate years of hard work, passion, and commitment to creating something that audiences will remember forever. Peter Cullen did exactly that through his powerful voice and unforgettable portrayal of Optimus Prime.
Therefore, today I bring you the story of Transformers: Rise of the Beasts 2023, a film that allows us to revisit the world of the legendary character he helped make iconic. Read, enjoy, and remember the incredible legacy of Peter Cullen. Have a wonderful day.
The Franchise Finally Stops Screaming
Right away, the strangest thing about Transformers: Rise of the Beasts is the restraint. I know, restraint is not a word normally associated with robots that turn into cars and then punch each other through concrete, yet Steven Caple Jr. spends much of the film trying to keep the machinery from swallowing the people. That decision does not always survive the screenplay. Still, I respect the fight. The earlier films often treated the camera like it had been strapped to an exploding firework, whereas Caple Jr. frequently lets bodies, vehicles and streets occupy recognizable space. A car chase can actually feel like a chase because I understand where the car is going. Small miracle! His directorial vision is not radical, but it carries a stubborn belief that scale means more when the human world remains physically present.
Brooklyn Before the Robots Take Over
The film is smartest when it remembers where it is. Early New York scenes have chipped sidewalks, cramped apartments, worn storefronts and traffic that feels irritatingly alive. Cinematographer Enrique Chediak does not turn 1990s Brooklyn into a glossy nostalgia postcard. Instead, sunlight hits brick walls, reflections tremble across car windows, and narrow streets make the enormous machines feel slightly absurd, which is exactly the point. I kept noticing how often Mirage occupies space like an actual vehicle before he becomes a digital character. And yet, once the film leaves New York, some of that physical identity leaks away. Peru offers stone ruins, dust and enormous geological shapes, but the production design gradually becomes less specific and more like expensive franchise architecture. The movie gains mythology, it loses texture.
The Humans Carry More Weight Than the Metal
Anthony Ramos gives the film its pulse, and I am more convinced by him on a second viewing. Noah does not become interesting because the script gives him endless emotional speeches. Ramos sells exhaustion through posture. His shoulders seem permanently prepared for another disappointment. That matters. When he stands beside Optimus Prime, the contrast is not simply human versus machine, it is vulnerability versus certainty. Dominique Fishback brings a different energy, sharper and more analytical, although the screenplay too often treats Elena as a person who arrives carrying useful information. I disagree with the criticism that the film completely fails its human characters. Not quite. The problem is that Caple Jr. introduces them with enough personality to make their later reduction into action participants feel frustrating. Luna Lauren Velez, meanwhile, gives the family scenes a worn domestic warmth that the film could have used more often.
When a Voice Becomes a Face
Peter Cullen still understands something the franchise occasionally forgets. Optimus Prime should not sound like a corporate motivational poster. His voice carries age, but also irritation, and that rougher edge gives this version of Prime an unusual tension. Ron Perlman adds weight to Optimus Primal without turning him into a simple imitation, while Michelle Yeoh gives Airazor a calm presence that the character design barely has time to support. Then there is Pete Davidson as Mirage. Here is my unpopular opinion, he works. Not because every joke lands, it absolutely does not, but because Mirage sounds like a machine trying too hard to make a human laugh. That awkwardness fits. The voice performances create personality through timing and hesitation, which is harder than it sounds when half the cast is rendered in pixels.
The Music Knows Where the Film Lives
The sound is doing more work than the score sometimes gets credit for. Jongnic Bontemps gives the robots heavy percussive force, but the film's most effective musical choices come from its relationship with 1990s East Coast culture. The soundtrack pulls the setting toward a specific social rhythm before the cosmic mythology begins flattening everything. Tires scrape. Engines growl. Metal folds with a deep industrial groan. And then a familiar hip hop track cuts through the noise, suddenly the film has a pulse again. That's the catch. The score swells, it occasionally does not earn the moment. But the broader sound design understands that transformation should feel mechanical rather than magical. You hear mass changing shape. That physical noise gives the action a sense of weight even when the digital images start drifting toward visual overload.
The Script Keeps Dropping Its Best Ideas
This is where I became impatient. The narrative structure begins with an almost refreshingly simple human problem, then keeps attaching mythology until the emotional line becomes harder to see. The film wants family drama, ancient history, robot politics, cosmic apocalypse and franchise expansion. Why does it need all of them? It does not. Still, the supposedly basic structure has one advantage. It moves. The story rarely stops to congratulate itself for understanding its own lore. The characters chase objects, escape danger, argue, regroup and keep moving. Raw. Uneasy. Effective. I have seen critics dismiss the familiar quest structure as evidence of creative bankruptcy, but I think the simplicity is partly a defense mechanism. A Transformers film can survive a thin plot. What it cannot survive is a thin plot buried under three hours of explanation.
The Unexpected Politics of Being Stranded
Here's the part few discussions linger on. Rise of the Beasts is filled with characters who are displaced, ignored or stranded. Noah struggles inside an economic system that has little room for him. Elena works near history without fully possessing the institutional authority around it. The Autobots are literally trapped far from home. Even the Maximals carry the memory of survival as displacement. This creates a strange thematic link between the human and robotic characters, though the film never fully names it. Caple Jr. seems more interested in outsiders than heroes. And that is why the emotional moments work best when nobody is talking about saving the world. The film is really about being useful to people who may not notice you until everything is already falling apart.
The Movie Becomes Smaller Inside Your Memory
And then the film... something changes after the noise fades. I do not remember every mechanical battle with equal clarity, and that may be the most honest criticism I can make. The giant spectacle blurs. But I remember Noah sitting inside the cramped world of his family. I remember Mirage behaving less like a noble warrior and more like a reckless friend who accidentally cares. I remember Brooklyn feeling more alive than several supposedly exotic locations. So what is Transformers: Rise of the Beasts MyFlixer really revealing? Maybe the franchise has spent years misunderstanding its own size. These robots are huge, yes, but the moments that survive are small. A hand on a shoulder. A voice through a car radio. An apartment that feels too crowded. The film never says it outright, but perhaps the most human thing about the Transformers is not their ability to imitate us. It is that, after all the destruction, they also seem to need somewhere to belong.
Frequently Asked Questions.
FAQ 1: Who was Peter Cullen?
Peter Cullen was a legendary Canadian voice actor best known for voicing Optimus Prime in the Transformers franchise. He also voiced the beloved character Eeyore in numerous Winnie the Pooh projects.FAQ 2: Did Peter Cullen voice Optimus Prime in Transformers: Rise of the Beasts 2023?
Yes, Peter Cullen returned as the voice of Optimus Prime in Transformers: Rise of the Beasts 2023, continuing his long association with the iconic Autobot leader.
.png)