I'm way too tired to do what I'm about to do, but fine, let's go through your arguments line by line; I'm sorry, but wouldn't it make more sense to have Megatron chasing after Sam? Why would Optimus bring Sam along instead of sending him with Bumblebee to get to safety? I know at that point I'm criticizing what's scripted, but seriously, what a more logical, immediately suspenseful conflict that would be. Anyway... For the whole Megatron getting the drop on them, it should've been telegraphed (props for word use, by the way) that they had lost him, and then he jumps out of the trees like "Surprise!", because the intended reaction is unclear. And while of course it can be explained away with conjecture, couldn't literally anything that might have happened have been? The problem is that those potentially logical motivations are deemphasized to the point of total ineffectiveness. It's a lack of the most simple narrative mechanism there is; cause and effect. Setup and payoff. You need both to make a moment/beat to "work". Michael Bay movies, from the bottom up, are all payoff, no setup. And they're obviously lessened by that. It's indulgence; only what we think we want, none of what the movie needs. It's got nothing to do with bad guy effectiveness. If movie bad guys were competent, movies would be five minutes long and super sad. I'm pointing out that no one on the scene has a clear goal. They're all just doing whatever, and it just feels meandering. For something is so lightning paced, it's incredible how loose and unfocused it is. And you just condemned that basic cause and effect that drives every good story ever told. You seem to prefer motivations left totally up in the air and I'm not really sure why... As a specific counterpoint to that... Interesting bit of film theory, Spielberg is one of the greatest filmmakers of all time and literally all he does is that exact method of telegraphing and then following through. It works wonderfully for suspense; you know exactly what's about to happen, and the character you're rooting for doesn't. And then... Oh no! It happens! It's 100% more effective than a tiny bit of momentary shock value. I get that. It would work way better if the movie made you think he'd won, so then he turns to find Sam, but BAM! Murder armed. Instead of him just... Doing that for no real reason. I'm starting to think that Michael Bay movies would start to get good if you just jammed in a few setup shots.