When Will learns that his wife has cancer, he decides to do whatever it takes to help her. When traditional methods fail, he asks his brother for a loan as a last resort. This idea, however, has a different idea: a bank robbery of ridiculously large sums through federal oversight.
Michael Bay should have its own separate movie genre. His movies are always so straightforward that he really deserves it. The Ambulance has everything a typical Bai Cignac should have: a noble main character, heroic cops, firefighters, rescuers, helicopters, chasers and a hyperactive camera that can’t stand still for half a second. Over the years the director himself has handled the reckless comedy of his style and in today’s film we can find plenty of references to his old films and the fact of running a very expensive chase. Because that’s how Pai makes his movies! Only bangs somehow are not enough.
Ambulance (2022) – movie review [UIP]. bank robbery
Will (Yahya Abdul-Mateen II) joins the army to escape the criminal life of his adoptive father and brother Danny (Jake Gyllenhaal). However, the situation has changed. The war is over and it is difficult to get a new job. In addition, Will’s wife and mother of their young son Amy (Musa Ingram) contracted severe cancer. The prognosis isn’t great, but one trial treatment can help. The problem is that your insurance doesn’t cover experiences. Even though he doesn’t want to, Will goes to his brother for help. Quick action: we go in, take the money and get out. Weapons for decoration, so you know they’re not kidding. With a heavy heart and family thoughts, Will agrees to help his brother. Perhaps that was the last thing he went his way.
The scenario based on Danish origin is not overly complicated. The basic idea of the movie is to “get away”. Along the way, the heroes have more tree trunks in their feet, but most of all keep the tension going, and that’s exactly what Bay is good at. Gyllenhaal once again plays a stranger who hides his true self under a mask of decency and you can see that he has a lot of fun chewing on the scene. Playing a lifeguard working in a hijacked ambulance, Eza Gonzalez delivers a full range of emotions, from irritation, through sympathy, to outright horror. The way she has written her character doesn’t help her. A ruthless, unassuming grandmother with a completely indifferent approach to patients, who will change approximately 180 degrees during the course of the film. Standard and boredom. Either way, Gonzalez handles the material very well, allowing himself to be touched even in a few moments.
However, the heart of the film is played by Matin Will. He is a character made of only conflicts. He does not want to disappoint his brother, but also cares about honesty with his wife. He doesn’t want anyone to get hurt, but he won’t hesitate to pull the trigger if necessary. He wants to get away with the money, but he knows he’s not worth it. A volcano of contradictory emotions, Matin performs flawlessly in every scene. The guy from movie to movie is only getting better and I think he’ll talk about it out loud.
Ambulance (2022) – movie review [UIP]. visual fluctuations
I have the impression that Michael Bay makes his films according to the principle: “Because they will look beautiful.” But it’s “cool” a bit old, without brakes, and lined with chrome and neon. We must start with pompous music and show in slow motion how hard and heroic the work of the Civil Services is. Obviously this is true, firefighters, paramedics, and cops all risk their health and lives every day to help complete strangers, but the way Bay looks makes you roll your eyes instead of being moved or proud.
This introduction remains very calm and restrained. On the other hand, when the actual action begins, the director leaves all the brakes. Drones shots literally flip over and then fall into the street, “why not”. It doesn’t serve one specific thing, it just leads to extra clutter. And so instead of an introductory shot of getting a feel for where we are, we have the mess. The camera shakes all the time, often interfering with what’s actually happening on screen – even when the characters are talking to each other. Compulsively when discussing the details of the robbery, the director walks around the actors in a slight depression (you know, like in the classic scene from “Bad Boys” for example). Cars crash into street stalls, water barrels, or each other at the end. There is even a scene in which not a single helicopter has flown under the bridge in Los Angeles. Of course, it all sounds flawless when it comes to the technical side and doesn’t surprise you with manufacturing even for a moment, but to me there is simply a lot of catalyst in the movie. After the examination, I felt very tired, however some of these ornaments can be easily cut so that the person can breathe a little. However, more than two hours of continuous work is quite a lot.
‘Ambulance’ is probably the director’s most ‘magicalbegko’ since he started making ‘Transformers’. A great cast full of character, lots of humor, visual muscle flexing, and weird scenes from the cover, because the director wanted to show them off. As pure entertainment, it does well, although it’s a fairly simple movie and could have been a little shorter. Especially since some threads can be successfully cut and nothing of the main plot is lost.
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