It isn’t the return of post-COVID (as if we’ve even gotten post COVID, but you know what I mean) cinema unless we get a new Michael Bay film in theaters. Sure, 6 Underground was pretty awesome, but that was put relegated as a Netflix release. So, here comes Ambulance, a remake of a 2005 Danish film, adapted by Chris Fedak, and starring Jake Gyllenhaal and Yahya Abdul-Mateen II as brothers Danny and Will Sharp, respectively. Will is trying to make due after returning from combat, and insurance isn’t covering the cost of a surgery for his wife, Amy (Moses Ingram), and that’s on top of the already heft expenses of raising a young child.
Will turns to his brother Danny for help, which – much to his dismay – comes in the form of assisting Danny in a bank robbery. Will reluctantly agrees, and sure enough, the robbery goes bad almost instantly. Fellow robbers die, leaving the brothers alone, and surrounded by cops, one of whom Will shoots as he tried to attack Danny. The two end up making their escape later on, by hijacking an ambulance, and holding the EMT, Cam (Eiza González) hostage, as well as the cop she was helping, the same one that Will shot, Zach (Jackson White), as hostages. A chase ensues.
The film is interesting in a lot of ways, but one that’s fascinated me the most is not so much the film itself, but some of the discussions around it. That’s usually not an angle I’m compelled by, but I wanted to bring it up for a moment. There’s been lots of talks about the excitement for this film, not just because it’s the kind of mid-range budget movies Hollywood rarely makes anymore, but also as a return to an era of blockbusters that were made by directors with distinct visions as opposed to the soulless factory filmmaking often seen these days (Marvel, they’re talking about Marvel).
While I think the criticism against studios like Marvel and Disney are maybe a touch too harsh, there is some truth in how oddly refreshing it is to see something so bold and singular from the mainstream, and to the point that even Michael Bay of all people is the one a lot are celebrating, the same director who has been one of the most popular punching bag for critics and cinephiles alike in the past couple decades (and to be fair, there are definitely aspects of some of his films that definitely warrant criticism). Though, for the record, I don’t totally subscribe to the idea of totally dismissing him, I think The Rock, Bad Boys II, and Pain And Gain are legitimate all-timers, and I think Ambulance is another one you can add to the list.
Much has been said about Bay and his particular brand of “Bayhem,” so I’ll try not to regurgitate a lot of the same talking points, but I will say that Ambulance is a near perfect showcase for why Michael Bay is one of the best in the biz when it comes to stuff like this. This is a film that costs roughly $40 million dollars, but it looks like it could have cost almost three times as much. His dynamic camera work is at full display, courtesy cinematographer, Roberto De Angelis, but it now incorporates drone footage shot by pilots Alex Vanover, Jordan Temkin, and Aaron Cohan. It’s easily some of the best and most inspired uses of drones I’ve ever seen, bringing you closer to the action than ever possible before, zipping by the cars, going under them during jumps, it’s the stuff that made me giddy as I was watching the film.
You also can’t talk about how well this film works without getting into the stunts. Second unit director and stunt coordinator, Mike Gunther, is a regular with Bay, and it’s impressive how much they not only accomplish with the budget they have, but also in how much of it was clearly done in-camera. It wouldn’t surprise me if there are CG touch-ups, almost every film has those nowadays, but there’s a strong foundation here in capturing as much crashes and pyrotechnics are done practically. It makes the experience that much more visceral and propulsive, and a fantastic score from Lorne Balfe also helps in that regard.
Performances are usually the least interesting things to talk about regarding Bay’s movies, but he usually attracts a talented cast, and this is no exception. Jake Gyllenhaal, Yahya Abdul-Mateen II, and Eiza González all give a thoroughly committed performance that matches the energy Bay is putting behind the camera (basically very aggressive and very shout-y). A couple of the characters, specifically Will and Cam, do experience an arc, even if the plotting rarely gives that journey room to breathe. But you also got scene stealers like Garret Dillahunt as a simultaneously casual yet no-nonsense LAPD captain and Wale Folarin, who plays a comic relief character that works with Danny.
A lot have claimed Ambulance as a Michael Bay film like one from his run in the 90s, standing alongside films like Bad Boys, The Rock, and Armageddon. However, I wouldn’t necessarily agree with that, I would say this is far closer to the likes of Tony Scott’s run in the 2000s, specifically calling back to films like The Taking of Pelham 123 and Unstoppable, both of which match the propulsive plotting, frenetic/borderline experimental editing style, and following of multiple perspectives throughout the story that Ambulance does. A lot of Bay’s recent work recalls Tony Scott’s visual and storytelling sensibilities, and I’m honestly here for it. I loved every loud, twisted, excessive, deranged, and bombastic second of this film. Even for folks who would usually not like Bay’s films, the juvenile humor, the somewhat nihilistic worldview, fetishistic framing of women, the military worship, is all very toned down here, and in some cases, not even present. It’s just a total adrenaline pumping ride from start to finish. It’ll probably leave you exhausted, but it was one hell of an experience that I was ready to go on again as it finished. Movies are back, baby!
Ambulance is now out in theaters.