When it comes to Michael Bay, you either love him or hate him. Critics tend to fall into the latter category, especially judging from the thrashing they gave 'Transformers: Revenge of the Fallen' back in 2009. However, the reviews are in for the newest (and supposedly last) film in the franchise, and they aren't nearly as bad as they have been in the past.

While most seem to agree that 'Dark of the Moon' is the best movie in the series, there are still the usual buzzwords we see accompanied with reviews of Michael Bay films: nonsense, vague, mind-numbing, etc.

Check out our roundup of 'Transformers: Dark of the Moon' reviews and see for yourself:

The Hollywood Reporter:
"When the 154-minute 'Transformers: Dark of the Moon' finally ends, your feeling is one of exhaustion, not exhilaration ... Bay really needed a gag shot where one alien transforms itself into the kitchen sink."

USA Today: "A vague story is cobbled together around the increasingly mind-numbing special effects and convoluted action sequences. But by the end of the two-and-a-half-hour-plus slog, it's hard to even remember where it began."

Christian Science Monitor: "'Transformers: Dark of the Moon' is a great summer blockbuster experience. It's not a perfect film ... but in a summer that's been punctuated by some major disappointments, 'Dark of the Moon' delivers unparalleled big-screen spectacle, and is arguably the best film in the series."

IGN: "The robots remain the real reason why people go to see these movies (sorry, Shia) and, thankfully, they're better served here than they were last time around. Optimus Prime is finally depicted as the badass robot warrior fans of the animated series remember him as, and his battles here are the best he's ever had in the trilogy."

San Francisco Chronicle: "Unlike 'Revenge of the Fallen,' part three actually has a plot, or at least starts with one before the movie lapses into nonsense."

HitFix: "'Transformers: Dark of the Moon' is easily the best film in the series, and there's a solid hour-long action sequence in Chicago that uses everything Bay's ever done before, but all blended into one exhausting push to save one girl in the midst of a war involving two planets."

Variety: "Bay seems to have placed a slightly higher value on visual coherence, holding the frame longer than usual ... and including enough wide shots to allow for a more generous, less claustrophobic view of the action. The result may still be a big, bloated spectacle, but it's a big, bloated spectacle you can just about follow."

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