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
![Ambulance - Official Trailer [HD]](https://i0.wp.com/i.ytimg.com/vi/7NU-STboFeI/hqdefault.jpg?w=780&quality=50&strip=all&ssl=1)
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.
ambulance it works like a heist film to use, but then it becomes something larger and sometimes unclassifiable
The story of two brothers who attempt a robbery in impossible conditions and then try to escape is topical to the point of disappointment. But thanks to the charisma of its actors, Bay manages to make it believable. Or at least endearing enough to keep the tension going. When Danny (Jake Gyllenhaal) and his brother Will (Yahya Abdul-Mateen II) team up for a massive heist, ambulance assumes its disconcerting scenario condition. Also surprising is the performance of Eiza González, on whose shoulders most of the premise rests. The actress abandons her usual inexpressiveness to achieve a sober and sometimes moving performance.
The first hour demonstrates Bay’s ability to create stunning big streaks. In fact, it’s surprising that the director was able to condense his proposition into a narrative that works with unexpected fluidity. In principle, ambulance works as a heist film to use, but then it becomes something broader and sometimes unclassifiable. Once the film abandons the boundaries of a defined genre, it becomes a journey (and in more ways than one) through random spaces. The script moves forward as best it can to fill in the gaps, justify unnecessary blanks, but its ultimate goal is to show all that Bay can do. Or at least pretend to show up.
And in the end it’s all about an ambulance
A Mbouncing is perhaps Bay’s most eloquent attempt to demonstrate his knowledge of fast-paced entertainment. In the sense that the whole plot of your film is actually one gigantic stage set-up. The city of Los Angeles shines like a radiant and lively backdrop. Its streets, avenues and highways become the visual protagonists of a relentless pursuit. A Bay tribute that sometimes surprises with its strange sense of beauty.
Without a doubt, ambulance it has more ambitions than claims to quality. But that doesn’t take away from the fact that this is entertainment in its purest form and above all, a more sophisticated point than expected. With waved flags, the inevitable succession of explosions and bullets everywhere, ambulance delivers what it promises. Dazzle by the force of impact blows.
