Michael Bay’s “ambulance” is as crazy as you hoped

Michael Bay is the master of maximalism, a film director who orchestrates every image, explosion and soundtrack in a symphony of sexual slaughter. Although once slandered as a symbol of superficial style over substance, the director now – in a Marvel-dominated era of blockbuster homogeneity on the production line – stands out as a vulgar single visionary, his films an orgiastic expression of his dudebro machismo. Trade in distilled adrenalized madness, Ambulance it is poured into the same mold, except that it rejects its CGI overload Transformers extravagances for chaos with practical visceral effects. The story of two bank robbers trying to escape capture by hijacking an ambulance is a car-tracking thriller, modeled as a man’s ode to beauty, chaos and appearance, and Bay uses it to wet Los Angeles with love. the only way he knows. how: turning it into a war zone.

An adaptation of the 2005 Danish original by Laurits Munch-Petersen and Lars Andreas Pedersen of the same name, Ambulance (April 8) presents a story populated by distinctive characters. First of all, however, it is an exhibition of an uncontrolled directorial show. The windshields of the cars reflect rows of palm trees, the sun shines on law enforcement and sparks spread through the air, while rescue crews release small children from vehicles damaged by life’s jaws. Everything shines in the radiant light of a crystal clear California day, with Bay covering its action in a luxurious glow that is truly erotic. The latest offers more beautiful images than can be found in the entire canon of modern superheroes and materializes on the screen in a borderline manner, each lasting a second or two, before the publisher Pietro Scalia gave up another sumptuous composition. or, just as often, a picture of ruins of rage.

Bay’s ADD aesthetic strives to create tension and momentum, and to promote this goal, his camera functions as a perpetual motion machine, flipping, rotating, spinning, skidding and sliding through its urban environments. The intoxicating drone sequences offer both looping aerial POVs and first-person insights into traffic madness, most of which culminate in catastrophic collisions that do nothing to slow the progress of proceedings. Never content to stand still, Bay traverses the interiors of benches and houses (and from small angles, all the better to forget his poster head) and grows and rotates around the bodies tied to the stretcher in the cramped confines of an ambulance. The experience is like being constantly sprinkled – albeit with a purpose, each super-close-up and extended panorama designed to convey a heartbreaking and heartbreaking emotion.

Ambulance it is the work of a director who can do anything and knows that and whose selfish impatience is essential to his art; when the characters refer in jest Stone and Bad Boys, they seem to be humorous signs that Bay is his only frame of reference. It is unknown at this time what he will do after leaving the post. However, if someone is informed – but can’t actually verify – that things are happening near Staples Center or LAX, such confusion is an intentional part of the sensory attack and it is best to simply stay for life. dear and enjoy the rare ones. cases where the film pauses to catch its breath.

Bay refers to narcotized energy, and Chris Fedak’s screenplay provides a proper aerodynamic narrative. Started by the cruel insurance companies in his attempt to get coverage for his sick wife (with whom he has a child), the veterinarian Will Sharp (Yahya Abdul-Mateen II) seeks financial assistance from his adoptive brother Danny (Jake Gyllenhaal). Five minutes after the meeting, Danny persuaded Will to resume their father’s family business: bank robbery. With $ 32 million in the game, Will can’t refuse and is involved in an ill-gottenly business that is quickly ruined by a novice cop named Zach (Jackson White), who wants to sue a bank teller for his pie as well. cute. the effort gets shot and he desperately needs medical care. Fortunately for everyone involved, paramedic ace Cam Thompson (Eiza González) arrives on the scene, giving Zach treatment and Will and Danny a way to sneak through LAPD’s Captain Monroe (Garret Dillahunt) network.

… Such confusion is an intentional part of the sensory attack and it is best to simply stay for the dear life and enjoy those rare moments when the film stops to catch its breath.

All three of these protagonists are defined by their top professionalism, with Cam harassed and noble, Will wrong and understanding, and Danny manic, arrogant and in control – which means that Gyllenhaal is practically an agent for Bay himself. Ambulance He throws them on highways, local roads, and side streets at breakneck speed, creating a variety of literal and figurative blockages, the most traumatic of which is Zach’s excessive bleeding, which requires emergency surgery by Cam. using Zoomed. -in doctors talking on golf courses – in a car moving at 60 mph. Bay continually raises tension and confusion until the film reaches a kind of crushing delirium, the lust for mass destruction just as luxurious as its weak point for youthful humor (especially a gag that stretched the dog), product placement (Dodge Chargers, Challengers). and Aries, oh!) and squishy bathos. There are no half measures here, only sound and anger formed at eleven.

In the midst of this avalanche of pistols, jokes and fireballs, Gyllenhaal takes great shots out of the landscape (often barking like an uncontrolled drilling sergeant), while Abdul-Mateen II and González worry and smoke with a sweaty lust. Ambulance throws everything in the mix – including, but not limited to, blows to abandoning one’s own army; health industry censorship; and a celebration of racial harmony and brotherhood – with contagious joy. It is a film imagined as a non-stop bombardment of macho pleasures, completely disinterested in the notions of restraint and good taste. Walking on the jugular with speed-freak intensity, he does not apologize for his immoderation; on the contrary, with each of Gyllenhaal’s giggling outbursts and outbursts of rage, one can practically hear Bay laughing excitedly as he travels – as well as asking for more, more, More from the next take. They may run out of gas before they reach the end, but as with all businesses in the Bay, the destination is far less important than the exaggerated journey.