the new Michael Bay overdone, corny and very entertaining

In ambulance, from Michael Bay, everything is going very fast. In the film starring Jake Gyllenhaal and Yahya Abdul-Mateen II, every situation is a trigger for something bigger. And indeed, one of the strengths of the film is the ability of movement — of the camera, and of its characters — to tell the story. Michael Bay, who is returning to acting after a three-year hiatus, is doing it at his best. For better or worse, the director seems to have honed his frenetic style. Also his over the top, absurd and cheesy way of telling the action genre. But with everything, and despite its multiple failures, ambulance It’s high-caliber entertainment that’s dazzling at times.

And it’s not precisely because of the benefits of its very straightforward storyline or its bizarre take on the genre. On this occasion, Bay takes the best of her version of the action and scales it in a new setting.. In a film whose title is the greatest of spoilers, the director plays with the pieces at his disposal to surprise. He does it like ambulance raise the bar and it goes quickly to confusion. Extravagant to defy the odds, Bay’s film is a crude but effective clock.

Chris Fedak’s screenplay turns an improbable circumstance into a pretext to exploit the idea of ​​the impossible. With the camera transformed into an intrusive and dynamic observer, the visual swing seeks to become subjective. But in reality, Bay does not have the speaking resources to succeed. Instead, it transforms multiples into a bewildering combination of movement and urgency. From its opening minutes – in which Bay makes a commendable and ineffectual effort to introduce her characters – to its whimsical, melodramatic ending. ambulance he goes from place to place in search of breaking boundaries, being stronger and more visually impressive. It succeeds, but at the cost of its solidity and, above all, of the internal tension of the argument.

A wacky parade of explosions and tears at Ambulance

However, in a gigantic exercise in style, Michael Bay creates a film to his measure. The deployment of cinematographic resources surprises with its ambition and shamelessness. At various points in the film, there is an obvious feeling that the plot is going from side to side amid unjustifiable technical stunts, in favor of wonder. Most of the time it works through Bay’s experience to create some sort of consumable version of the action.

This time, the director’s bias to apprehend the film as a whole which must dazzle is obvious. There is not the slightest dissimulation in his extremely exaggerated way of approaching action films. But between the parade of explosions, gunshots, screams, screams and kitsch, there is something good. Bay finds the formula to establish a partially full line.