Transformers: The Last Knight

This is supposedly Bay’s last Transformers, though the series is likely at the level where inertia will carry it through many years and automatic billion-dollar returns to come. Expect the reviews to be kinder if a new director with a more normal approach steps in, but don’t expect the movies to be as distinct – for better or worse.

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The fifth time may not quite be the charm, but the latest entry in Michael Bay's crunched-metal robot-war mega-series is badder, and therefore better. Sort of.

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The fifth Transformers movie, The Last Knight, is far from the worst in this continuing experiment in noisy nonsense based on Hasbro toys. That is thanks largely to two words: Anthony Hopkins.

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One might argue the “core ideas” of “Transformers” are present, at least the basics provided by the toys and cartoons: robots in disguise who have lived among us for centuries.

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The Autobots roll out again, but do they really need to?

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Bay's latest Transformer title is a daunting behemoth of a film and you can feel every ounce of dead weight, as sins of the past are committed without any signs of stopping.

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Even an actual real-life knight couldn't save this mess.

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The good and bad robots once again battle it out in this latest installment of the Hasbro toys-inspired franchise.

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Academy Award winner Anthony Hopkins, at 79, has joined the illustrious likes of Shia LaBeouf and Megan Fox. He’s in “Transformers: The Last Knight,” the fifth in Michael Bay’s series of giant robot flicks based on a toy. You’d hope Hopkins would know better. LaBeouf, who left after the third Transformers,” and Fox after the second, seemed to.

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If Optimus Prime, Autobot leader and all-around mensch, really wanted to save humanity, he would have stopped director Michael Bay around four Transformers movies ago.

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Watching “Transfomers” is like sitting in a car that’s revving its engine while stuck in the mud. It sounds like it’s getting somewhere, even though all it ever does is spin its wheels.

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“Transformers: The Last Knight” opens and closes with chaos.

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Fifth installment allows Mark Wahlberg to play yet another character who’s both the Chosen One and always right about everything.

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It’s robots battling King Arthur in director Michael Bay’s fifth go round as director of the gigantic toy-commercial franchise. What could possibly go wrong?

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The sensory overload of Michael Bay’s hyperkinetic cinema is such that it eradicates any actual sense of place.

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In the opening scene of Transformers: The Last Knight, we are presented with the spectacle of King Arthur and his knights locked in an existential battle for the survival of human civilization, even though we’re not really told who or what they’re fighting for.

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Let’s recap: King Arthur, Yeager as “the chosen one,” Guardians of the Galaxy’s Haddock as a fusty Oxford scholar whose destiny is to save the Earth, and, oh yeah, Bumblebee regains his true voice.

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Michael Bay's latest mega-bots monstrosity makes this summer's other blockbuster misfires look like masterpieces.

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