Transformers: Rise of the Beasts (2023)

A less bombastic and more relatable sequel shows there is still life in the machine, delivering escapist fun without a synthetic sugar headache. It singles out the grounded human story, sustained dialogue, and hip-hop-inflected 1994 setting for praise.

The film improves on most prior entries in the franchise with better narrative focus and human characters, though it falls short of the 2018 Bumblebee. It singles out the relatable Brooklyn leads and their interactions with the robots for praise.

The critic calls it one of the better Transformers entries for keeping things simple and delivering plenty of robot action without overcomplication. They single out the efficient direction, solid gags, and appealing human leads for making it modestly enjoyable.

The generic reboot prioritizes spectacle over character, leaving the human stars stranded despite some flair in the action scenes.

The critic notes that Caple Jr. aims for a middle ground between Bay's bombast and Bumblebee's smaller scale with fair-to-middling success; the first hour is appealingly human-scaled with strong bonds between characters like Noah and Mirage. It ultimately assaults viewers with energy-draining Bayhem and fails to make the cosmic stakes feel invested.

The critic finds the film affable enough with appealing human leads, a fun '90s hip-hop soundtrack, and some baseline fun, but criticizes its logical negligence, plot gaffes, lack of jeopardy, and derivative climax that evokes déjà vu rather than nostalgia. Fishback and Ramos are praised as the token humans while the overall effort is called silly.

The critic finds the film heavy going and exhausting, with too much exposition and self-important action. They single out the appealing human performances from Anthony Ramos and Dominique Fishback, along with the hip-hop soundtrack, for praise amid the metal-on-metal chaos.

The critic notes the film fails to sufficiently differentiate itself and retains the franchise's clattering action and self-important tone despite some playfulness and emotion from the new director. They single out Anthony Ramos's charming performance as the best in the series but criticize the overinvestment in dull CGI characters.

The critic calls the film a mild improvement over Bay's vulgar entries—good-natured with effective action set-pieces in jungle settings and a diverse cast—but ultimately bland and anaesthetised, wasting talented actors like Ramos and Fishback on immature, forgettable material. It lacks the distinctiveness (even the hideousness) of prior films.

The goofy installment rattles along until the wheels fall off, with frantic plot mechanics steering interest into a ditch. It singles out the charismatic human leads struggling to share scenes with the robots and the pointless stakes for complaint.

The film marks a franchise in free fall, a lurching and sputtering vehicle that is both dull and disposable. It singles out the evocation of 1990s New York City and the hip-hop soundtrack for praise while criticizing the silly lore and uninspired action.

This 1990s-set prequel feels like a drag, with robot gorillas and the Hasbro Cinematic Universe off to a predictably rough and boring start.

The critic calls the film a limp, lifeless robot sequel and a careless fumble assembled without effort or interest. The production values and storytelling are faulted for their half-finished quality and lack of personality or human touch.

The film delivers spectacular action sequences and appealing human performances but fails to offer anything original in its story or approach.

The critic dismisses the film as rusty garbage and the worst entry yet in the franchise, loud and dull with no personality. Its brevity is noted as the sole minor positive amid chaotic, personality-free robot action.

The film is thoroughly frivolous yet exhausting, achieving neither spectacular scale nor intimate emotional connection and feeling ready to be consumed and forgotten.

The critic praises the film as a fresh, nostalgic chapter that stands on its own, delivering relatable human characters, engaging '90s references, and entertaining action without the bloat of prior entries. It highlights strong performances from the leads and a satisfying, witty close that leaves viewers entertained rather than exhausted.

The critic calls it the best mainline Transformers film since the 2007 original, crediting a coherent plot, agency for human characters, and followable action sequences. Limitations of the toy-based franchise and a somewhat underwhelming climax are noted, but overall it succeeds as engaging summer spectacle.

The film is a mixed step forward for the franchise, with stronger character development for the human leads and Optimus Prime than in prior entries. However, it falls back on generic MacGuffin plots and less compelling action sequences in the second half.

The review finds some enjoyable robot action and a likable lead performance but faults the script for feeling derivative and AI-written, while noting it improves on earlier entries in the series.

The critic finds it the safest and funniest entry in the series but still disappointing due to franchise fatigue and uninspired action. Pete Davidson's voice performance as Mirage is singled out for injecting irreverent fun, comedy, and energy into the proceedings.

The critic views the film as a generic cash grab that fails to stand out, with predictable storytelling, exposition-heavy scenes, and convenient action sequences that disrupt narrative rhythm. The Maximals add some excitement and the film makes modest strides in inclusivity through its Peruvian setting and social commentary.

It ranks among the better live-action Transformers films thanks to an emotional core, believable motivations, and more restraint than Michael Bay's entries. Still, the story remains formulaic and it lacks the intimacy of Bumblebee.