‘Ambulance’ Movie Review: Michael Payne Thrill Ride

Does the character work? Not all the time. But is the film fun? Hell, yes.
Photo: Andrew Cooper / Universal Studios

Medical ambulance, Director Michael Boy’s latest film, directed by the trembling of desire and blissful hope that comes from making cocaine. Lots of cocaine. If you tell me that before every swaning shot set or bombastic line read by co-lead Jack Gillenhall, the people in the set drowned in the mountains of cocaine, I trust you completely and utterly. This is the absurdity that I can back off from. It deserves more love than it did at the box office on its opening weekend for highlighting the Inbox principle set aside by many filmmakers in Hollywood for self-awareness and broadly connected universes – I appreciate that though. Medical ambulance Characters referring to previous Bay Powerhouses Bad Boys And The RockThat means Bay is in the universe of its own image.

Medical ambulance It was called “small” by Bay standards due to its $ 40 million budget price. Note, his previous Netflix film, 6 underground, Starring Ryan Reynolds Sentient Incrone Hair, costing $ 150 million. But don’t let that amount of money fool you Medical ambulance A tasty slander that satisfies the audience beyond things like general knowledge and character, bonkers are less than thrilling. This is a movie made to satisfy you – a clip of teasing laughter and shocking. Intensity begins early. Screenwriter Chris Fedek is not wasting time; He skillfully crafts the story of crime and three stars, first relying on the Amber-Hood childhood flashbacks, and then Gillenhall (played by Danny Sharp) and Yahya Abdul-Madin II (played by Will Sharp) as foster brothers on very different sides of the law, whether they’re a father’s bank robber or a psychic. They share a grateful adolescence, a former walker on its steps. The bow is at the end of his line. A war veteran and father, he wants to raise enough money to help his wife, Amy (Moses Ingram). He quickly returns to his guilty brother for work going left.

Starting out as a safe bank robber, he turns into a thumping chase through a fierce EMT game (Isa Gonzalez) on the streets of Los Angeles, trying to keep the annoying guard (Jackson White) alive. The film makes its twists and turns in moments of luck and brilliance, creating an array of dazzling characters – relying on FBI agent Anson Clark (Khair O’Donnell) to escape Danny’s officers from the cartel members, with whom Danny went to college. His father persuaded him to take criminal profiling classes in order to better understand the mindset that would one day beat him. Medical ambulance The tattered connection between Danny and Will creates its emotional life, synchronizing their differences at every turn. Danny cheats with a hair-raising rage. Will Stoke and the concerned, sought to lay down his life for his own hostages.

Characterization does not always sing, especially when you watch the uncomfortable superiority of the armed forces or the chemistry between Gillenhall and Abdul-Madin is never attacked. When the game is introduced, it becomes clear what kind of female character we are facing. She’s an EMT who can lovingly help pierce the belly of a young woman with a fence, as she wants to eat Enceladus in the next breath, filling the moaning air of metal with metal. He’s rude and nonsensical in the effortlessness expected from actresses in this range – relatively young, beautiful in a way that seems algorithmically designed – has yet to prove what they can do. Here, she’s soft when she really has to be steel. But best of all, Medical ambulance Its car is overflowing with a display brio that happily pays for accidents, chases and explosions.

It is often lamented that there has been a steady decline in middle-budget films in Hollywood in recent decades, especially as to how integrated they are in improving and refining the image of a star. But there is more to lose than that. Notice the wealth of character actors in films like the cluttered Keanu Reeves action flick. Speed For such erotic thrillers The last dizziness. Bay and casting director Denise Samian understood how to create a supporting cast. The film is colorful with a variety of outstanding character actors, most notably Monroe as the cunning police captain and Olivia Stampulia as the electric smart-mout lieutenant jockey. Combined with the surprisingly high body count, Medical ambulance It strikes at what needs to be hit: visceral thrills, lots of blood and violence (without much reliance on substandard CGI), practical effects and a genuine interest in putting its characters in complete hell. If a Birkenstock-clad robber goes extinct, his legs run up, he looks down and asks what happened, and if someone admits they forgot the pickles in their burger, you can not help but laugh. . But your eyes – and the camera, guided by dynamic cinematographer Roberto de Angeles – will always turn on Gillenhall and Abdul-Madin.

As Danny, Gillenhall gives hypermaskulin traction. This is not new to him. He’s an actor. He’s a flexible, flexible actor that I’m really enjoyed for decades, but whenever he engages in such acts he is like a serious reminder to us that he can be a man’s man, and throw away feminine or complex dynamics. As Wildlife And The enemy, This allows him to sit within a more powerful masculinity. Here, Gyllenhaal goes full mask. In his arms, Danny’s charm quickly subsides into violence with selfishness and sharp edges. However, he’s as fun as hell in character – chewing on sentences, spitting out single lines, using his physical ability to push people into a state of fear, and moves with ecstatic compassion. He gives pure, unadulterated gonzo energy. When he says, “It’s not that easy, Will. We are not bad, ”he said. Nonetheless, Bay did not take into account the fact that more than a handful of viewers of this film (including myself) could not give less about the police. We root out the unique culprits who put the middle finger in the air in defiance of the system.

Abdul-Madin, on the other hand, is associated with a character built on Stoism, good heart and Bay’s clear respect for the Armed Forces. Casting Abdul-Madin in this role brings to the fore interconnected issues, namely that black people are being pushed into organizations that support fascism and imperialism that control their lives in their home area. Bay did not wrestle with this dynamic. Hell, he didn’t realize it was there. So when it becomes clear that Danny and Will’s fate is death or prison, the political discomfort becomes clear. Here a black man is trying to help his family, after the government rejects him, only trying to finish part of an even worse system tainted by the blood of unspoken black and brown people in the hands of this country. Looking at Abdul-Madinah – whether he sings a song with Gillenhall or removes some of their fears or provokes the hell out of his brother on screen, it immediately arouses the interest of the authorities – I could not. No help but exactly what he wants from his life. In HBO’s Responsive Series Guards, He plays Dr. Manhattan with a soft heart and strength. In the silly blast of Son of the Ocean, He plays with the power to make fun of my favorite Black Manda. Most recently The Matrix Renaissance, He takes a whirlwind over Morpheus, which is self-aware and courageous. He is an actor with a lot of Lupine physical ingenuity, an actor who kind of easily enters the room and catches the eye. But which room does he want to walk into? What height does he want to reach? Despite his talent and profile, Abdul-Madin does not consistently accept roles that focus on his power.

But why didn’t you read this review. You wonder Medical ambulance Going to the theater for what kind of fun? Hell, yes, it is. Where do I start? With exciting color palettes? The polite courtesy of flipping multiple times in the air like a car dancing to its own liking? The sheer madness of accidents caused by political grace? How about those drone shots? Bay relies on the virtuoso delight of overhead drone shots hanging over skyscrapers and other squat buildings. This outrageous visual style is used again and again to create great effect. Another great example of the visual power of film? When Danny yells that the bow is really his Real The brother was spinning in a circle to expel their rivals before unleashing a hail of bullets in Slow-Move on a cartel boss and his foot soldiers. What else can I say: now It Cinema, child.

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