The Best And The Worst Moments From The Transformers Film Franchise

The "Transformers" franchise has endured for decades, from its cartoon-and-toy origins in the mid-'80s to the blockbuster movie series launched by Michael Bay's live-action film in 2007. Time has certainly flown by. Despite the diminished commercial success over the wave of sequels that followed, the box office performance of "Transformers: Rise of the Beasts" indicates that there's still an audience appetite for these beloved robots in disguise.

Still, with so many entries — many of them critical failures — it's easy to find moments that don't quite work. Whether it's the incessant screaming of Shia LaBeouf's character, the persistent misogyny surrounding Megan Fox, or Optimus Prime's perplexing violence, there are sequences in the "Transformers" films that leave viewers scratching their head or reeling in disappointment. But the movies were hits for a reason, and there are certainly moments of awesomeness that deserve recognition as well.

I've sifted through the hours of footage to find the particular stand-out moments — best and worst — from the eight feature-length "Transformers" films (including the 1986 animated movie). Let's roll out!

Despite the massive budgets, the impressive technological advancements, and the ever-expanding cast, none of the "Transformers" movies have surpassed Michael Bay's original 2007 film, which remains one of the best summer blockbusters of the 21st century. It may be loud, occasionally obnoxious, and excessively long, but it also exudes Spielberg-esque heart through the underdog dynamic between Shia LaBeouf's Sam Witwicky and the Autobot Bumblebee, as well as Sam's budding romance with Mikaela (Megan Fox). Steve Jablonsky's rousing score delivers a powerful impact, and the action sequences are reliably explosive.

In particular, the climactic set piece in which Optimus Prime and his comrades engage in a battle against Megatron's forces in downtown L.A. stands out. Bay shoots the robots from a human perspective, emphasizing the immense size and intricate detailing of these colossal titans, while the sound design cranks up the volume to an eardrum-shattering level, intensifying the experience.

I've always appreciated the gradual escalation of chaos in this sequence. For some reason, the good guys decide to conceal the vital All-Spark in the heart of the city, leaving their parked vehicles in plain sight. Naturally, the villains arrive and encircle them, with Starscream patrolling from above. Amidst initial attacks and a spectacular Ironhide cartwheel, Sam seizes the All-Spark and races towards a nearby building, while metal clashes, bullets fly, and explosions erupt from all directions. The scene is exhilarating, with robots flinging each other through buildings and leaving a trail of destruction in their wake. Bayhem at its finest.

Michael Bay's third "Transformers" outing, "Dark of the Moon," is marginally better than its predecessor, "Revenge of the Fallen," but it still falls short of expectations. Bay continues to make missteps by pitting generic-looking robots against each other without much coordination. The human drama surrounding the action lacks depth, and the character of Sam Witwicky is reduced to an entitled jerk who throws tantrums when his new girlfriend's boss outshines him in every way.

Bay attempts to recreate the excitement of the iconic L.A. battle from the first movie, and occasionally succeeds in delivering impressive moments. However, he still portrays Optimus Prime as a psychotic murderer rather than a noble warrior. In one particular scene, the villainous Sentinel Prime holds Optimus at gunpoint, and Optimus pleads for his life. Surprisingly, Megatron intervenes to save Optimus and proposes a truce. Despite this act of mercy, Optimus seizes the opportunity to ruthlessly destroy Megatron while his back is turned.

This action beat presents an odd way for Optimus to "save the day." While killing Megatron may have been the right move, allowing the main protagonist to execute him in such a dishonorable manner is questionable. Especially considering Megatron had just saved Optimus' life moments before. There were certainly better alternatives, Bay!

One of the strengths of 2007's "Transformers" is Sam's relationship with Mikaela. Their connection begins when Mikaela abruptly breaks up with her jock boyfriend and sets out on her own. Sam seizes the opportunity and offers to give her a ride home in his new vehicle. Little does he know that his ride is actually Bumblebee, and the Autobot goes above and beyond to help Sam win over his dream girl.

Bumblebee sets the stage for a romantic atmosphere by switching the radio to love tunes and then orchestrates a fake breakdown, giving Sam the perfect opportunity to make a move. When Mikaela decides to wander off, Bumblebee restarts his engine, providing Sam with one last chance to connect with her. The charade proves successful, and the pair form a bond just before their adventure begins.

Sam and Mikaela's date delighted audiences, a rare example of Bay's outlandish comedy paying off. Every element comes together flawlessly, from Shia LaBeouf's comedic timing to Bumblebee's well-executed musical choices. By the end of the scene, Sam has won over the audience, cleverly incorporating the classic cartoon slogan, "more than meets the eye," into the moment, while Mikaela is portrayed as a character with depth beyond her physical appearance.

"Transformers: The Movie," released in 1986, was highly anticipated by fans of the "Transformers" franchise. However, despite the initial excitement, the animated flick took a puzzling turn. The movie starts off promisingly enough, with the Autobots embarking on a mission to reclaim their home planet Cybertron from the Decepticons. But then, the kids who came to see their favorite toys battle on the big screen were hit with a dark and unexpected twist.

In a rather questionable decision, the filmmakers chose to kill off several beloved main characters, including Ironhide, Prowl, Ratchet, and Brawn, within the opening act. Even more shocking, both Optimus Prime and Megatron meet their demise, with Optimus passing on the Matrix of Leadership to Ultra Magnus. This bold move left fans (including myself as a young viewer) utterly disappointed.

Obviously, the purpose of this drastic story beat was to introduce a new generation of robots, effectively turning the animated film into a large-scale toy advertisement that lacked depth and soul. Despite an impressive voice cast featuring talents like Judd Nelson, Leonard Nimoy, and Orson Welles, "Transformers: The Movie" ultimately made all the wrong moves, leaving fans frustrated.

In the climactic Battle for Chicago that ends "Dark of the Moon," Michael Bay delivers two extraordinary sequences: the wingsuit scene and the thrilling skyscraper set piece. While both are exhilarating, the latter stands out due to Bay's commitment to constructing a massive set to simulate a collapsing building.

Our heroes, led by Sam, Carly (Rosie Huntington-Whiteley), and Epps (Tyrese Gibson), scale a precarious building to launch a rocket at Sentinel Prime's pillars and halt Cybertron's entry into Earth's atmosphere. Despite the building's unstable state, they press on. Ambushed by Decepticon goons, they're forced to leap out of windows, sliding down the building's side. Once inside, they continue sliding towards the other end, grabbing whatever they can to hang on for dear life.

Their actions draw the attention of Shockwave, who commands the colossal Driller, a worm-like robot, to demolish the crumbling building. The top half of the structure tips over, smashing into a nearby tower and leaving our heroes dangling over the streets below. Just as all hope seems lost, Optimus Prime arrives to save the day, and proceeds to blast the bejesus out of Driller using his rocket pack. This awe-inspiring spectacle brilliantly showcases the unparalleled visual effects mastery of Industrial Light & Magic, creating an explosive and breathtaking display that will leave your living room in ruins if you dare crank up the volume.

"Revenge of the Fallen" presents a multitude of disjointed ideas throughout its excessively long runtime, all of which fail to form a cohesive whole. The result is a chaotic spectacle that both mesmerizes and frustrates in equal measure.

One of the film's peculiar choices revolves around the titular villain, the Fallen, a vindictive character biding his time in space until the opportune moment to strike. After Optimus Prime's demise, the Fallen initiates his assault on Earth, culminating in a colossal battle near the Egyptian pyramids. Fortunately, Sam acquires the Matrix of Leadership and resurrects Optimus, who effortlessly overpowers and ruthlessly obliterates the Fallen.

In this climactic showdown, Optimus rips the Fallen's face off. Rather than uttering something honorable, noble, or inspiring, opts for the perplexing one-liner, "Give me your face." What? Out of all the lines to choose from, this is the one they went with? Admittedly, moments later, Optimus redeems himself with the more effective line, "I rise, you fall." However, it's likely viewers missed the good bit because they were too bust trying to understand the previous line.

At any rate, it's unlikely that "give me your face" will go down in history as a memorable quote, at least in a good way. Perhaps something like "Yippe kay-yay, Mr. Fallen" would have been more fitting.

In his attempt to reboot the "Transformers" franchise with "Age of Extinction," Michael Bay offers another mixed bag of high-octane action and lackluster human drama. Mark Wahlberg stepped in as new lead Cade Yeager, supported by a cast including Nicola Peltz, Jack Reynor, Stanley Tucci, and Kelsey Grammer. For those unaware, the story follows Optimus and the Autobots as they attempt to thwart a secret government organization and a terrifying Decepticon known as Lockdown. Intriguing, right? The problem is, the escapades last for over two and a half hours. 

Amidst the film's flaws, there are nevertheless a few standout moments, particularly the thrilling sequence known as the Charge of the Dinobots. During the final battle in Hong Kong, Optimus assembles a Dinobot army to confront Lockdown, mounts a Tyrannosaurus Rex named Grimlock, and leads the charge with a massive sword. For those who grew up with the "Transformers" animated series, witnessing Optimus riding atop Grimlock is a childhood fantasy brought to life. It's a sight that few could have imagined seeing on the big screen. 

The other Dinobots join the fight alongside Bumblebee and a fresh group of Autobots, resulting in a massive visual spectacle that's good enough to endure the extended setup that precedes it. Also included is the bit where Lockdown's ship sucks up Hong Kong like a vacuum cleaner. Eye candy!

"Revenge of the Fallen" is a clunky blockbuster that disappoints on many levels. The occasional positive moments scattered throughout the film are overshadowed by the abundance of negative ones, making for a messy viewing experience. Furthermore, the convoluted plot only adds to the confusion.

Early on in the story, Sam enters college and encounters new characters, including the enigmatic Alice (Isabel Lucas), who appears to have a romantic interest in our hero. However, things take a bizarre turn when, reminiscent of a scene from James Cameron's "Terminator," Alice reveals herself as a robot and proceeds to destroy Sam's dorm room.

Yes, you read that correctly: Alice is a robot disguised as a human, which raises numerous questions. If the Decepticons have the ability to transform into humans, why do they predominantly choose vehicle forms such as cars, jets, and tanks? Why did Alice attempt to seduce Sam when she could have easily overpowered him to extract information? Why didn't Bumblebee detect her deception? It's a confusing aspect of the film that leaves one questioning the logic and coherence of the story.

Shia LaBeouf's frantic reaction to Alice's transformation may provide some comic relief, allowing you to laugh at the absurdity, but it ultimately highlights the lack of consideration given to the rules and consistency within the "Transformers" universe by its creators.

While "The Last Knight" may have its fair share of flaws, there's no denying the epic scope of the final battle that takes place above Stonehenge. The special effects are stunning, and Michael Bay's direction of the action, particularly with the use of IMAX cameras, is noticeably smoother compared to previous "Transformers" films. In this gargantuan set piece, Optimus Prime, manipulated by the evil Cybertronian goddess Quintessa, initially tries to kill Bumblebee. Naturally, our heroic bot eventually breaks free from the spell and reverts to his noble self. This leads to an all-out assault on Quintessa, resulting in an uninterrupted display of non-stop action for nearly a half-hour of the film's runtime.

The military, led by Lennox (Josh Duhamel), launches an attack using Bell-Boeing V-22 Ospreys, while the Autobots summon the mighty three-headed dragon known as Dragonstorm and unite behind Optimus. Facing a group of Infernocons single-handedly, Optimus showcases his bravery, decapitating the lot with one powerful swing — thrilling stuff, highlighted by Steve Jablonsky's powerful musical score and complemented by Jonathan Sela's vibrant cinematography.

Admittedly, the reasons behind the various factions attacking each other may be overly convoluted, but at this stage, it's best to trust that Optimus Prime's actions are ultimately for the benefit of humanity. Bay's approach to depicting advanced robot combat may lack ingenuity, with robots mostly resorting to hand-to-hand combat despite packing an array of weapons, but the visual splendor is powerful enough to carry one through the stupidity.

"Dark of the Moon" is mostly enjoyable, though it suffers from the same issues as other "Transformers" films directed by Michael Bay. The story feels underdeveloped, the writing is sloppy, the characters are uninspiring, and the overall tone is exaggerated to a headache-inducing degree, all packed within an unnecessarily long runtime. Bay and his team clearly prioritize set pieces and action sequences over crafting a coherent narrative. 

This approach becomes apparent in the latter part of the film, when the storyline veers off into illogical territory. Confronted with an impossible choice between leaving the planet or allowing Earth to be destroyed, the Autobots agree to board a rocket ship as instructed by the bad guys. Predictably, the Decepticons betray their agreement and destroy the ship, launching an all-out assault on Earth. 

Suddenly, plot twist: Optimus Prime and his team were not on the ship; they had already disembarked before it was destroyed. This means they were on the planet when Sentinel Prime attacked and ... stood by and watched? Optimus justifies his decision by stating that people needed to witness the consequences of the Autobots leaving the planet, but he's sacrificed thousands of lives to make this point.

Optimus' plan certainly achieves its desired outcome, but it's hard to deny that there were likely better approaches he could have taken to assist Earth without incurring such a devastating cost. Hilariously, he's shocked when humans turn against him in "Age of Extinction."

"Rise of the Beasts" stands as a commendable addition to the "Transformers" saga, with director Steven Caple Jr. prioritizing character development over pure spectacle. While the plot adheres to the familiar video game formula of pursuing Object A to achieve Object B and ultimately accomplish Object C, the charismatic performances of Anthony Ramos and Dominique Fishback hold viewers' attention in-between the action bits. Additionally, the robot heroes are given more depth and personality, thanks to the outstanding voice work of Peter Cullen, Ron Perlman, Michelle Yeoh, and Peter Dinklage, supported by impressive visual effects from Moving Picture Company and Wētā FX.

When the inevitable final battle unfolds between Optimus Prime's team and the villainous Scourge, you may well find yourself captivated by the stunning visuals enough to actually care about the outcome. Even as Ramos' character dons a Transformers suit and joins the battle, the spectacular set piece never loses sight of its characters, their newly minted friendships, or their overarching mission to defeat Unicron, despite the overwhelming presence of faceless baddies populating the screen.

"Rise of the Beasts" may not claim the title of the best "Transformers" film, but it boldly propels the franchise in an enjoyable new direction. Furthermore, its incorporation of another Hasbro property, "G.I. Joe," hints at even more thrilling and unpredictable adventures to come in the future.

The ship sequence in "Age of Extinction" has always been a sore spot for many viewers, myself included. It's a sequence that starts with promise but quickly becomes an overlong and increasingly nonsensical affair. As Cade and his companions board Lockdown's massive ship in a bid to rescue both Optimus Prime and Cade Yeager's daughter Tessa (Nicola Peltz), the events that unfold become more and more ridiculous.

They find themselves pursued by strange transforming dogs, robot slugs with exaggerated cartoonish eyes, and an assortment of villainous mechanical henchmen. Astonishingly, they manage to navigate this chaotic scenario with relative ease, with Cade effortlessly mastering an alien gun within seconds. Despite the ship's colossal size, the group miraculously reunites without much trouble, and our heroes exit in quick order.

The sequence lacks any sense of pacing or cohesion, serving mainly as a setup for a grand chase sequence over Chicago. Mark Wahlberg yells a lot, Nicola Peltz runs frantically, and Michael Bay's camera movements become so excessive that they induce motion sickness. Moreover, the visual design of the ship is bland and uninspired, representing a missed opportunity to showcase some originality amongst the robot characters.

In the end, the ship sequence in "Age of Extinction" epitomizes the shortcomings of the film's production, with a lack of ingenuity and a disregard for coherent storytelling. It stands as a prime example of the flaws that have plagued the "Transformers" franchise throughout its history, which future installments can hopefully leave in the past.