Ambulance (2022) Review!!

Synopsis – Two robbers steal an ambulance after their heist goes awry.

My Take – No matter the genre or the film’s plot, with his signature style omnipresent, I think we can all agree that you can spot a Michael Bay (The Rock, Transformers) film from a mile away. A self-indulgent style which over the years has become both a bane and boon.

While his crowd pleasing antics comprising of elaborate car chase sequences, heart-throbbing action scenes, a bombardment of chaotic, visually arresting effects and of course, a large set of explosions, has ensured that director Bay retains the title of delivering larger-than-life cinematic experiences, on the other hand, with each passing film, the story-lines backing the film are also getting considerably weaker.

But who cares at this point, right? If you chose to watch a Michael Bay directed film, you know what you are getting into – a two hour popcorn entertainer obsessed with being genuinely ridiculous and fun at the same time. His latest film too carries the same vibe.

Based on the 2005 Danish film of the same name, here, director Michael Bay uses everything in his arsenal, from handheld cameras, creative trolley pulls, astonishing drone shots, and extreme close-ups to pull us close into the adrenaline filled action.

Working as a mix between Speed (1994) and Heat (1995), with some vibes of Pain & Gain (2013), The Rock (1996) and Bad Boys (1995) thrown in for good measure, the film sees him at his comfortable best, using his known flamboyant style and trademark explosions to work this character-driven, action-packed drama written by Chris Fedak (Prodigal Son, DC’s Legends of Tomorrow).

Yes, tonally it is all over the place and how much you enjoy the film depends on your liking of the filmmaker, but with a surprising emotional brotherly angle anchoring the plot, it at least has more heart and soul than his mildly enjoyable lasting outing, 6 Underground, which released on Netflix.

The story follows William Sharp (Yahya Abdul-Mateen II), a war veteran who is in desperate need of money, as his wife, Amy (Moses Ingram), has been diagnosed with cancer and the insurance is not going cover the experimental surgery.

Reluctantly he ends up approaching his adoptive bank thief brother, Danny (Jake Gyllenhaal), for a loan. But while Danny does not have the amount to help him, he offers him a place on his latest job, stealing 32 million dollars from an L.A. bank, to which William agrees.

Though Danny assures him that his heist is all well planned out, everything eventually falls apart when a beat cop, Zack (Jackson White), finds himself mistakenly in the mix and gets shot. Surrounded by law enforcement officers from all sides, the brothers decide to cut and run with their share of the loot, hijacking an ambulance with an EMT, Cam Thompson (Eiza Gonzalez) and the severely injured cop, as all manner of mayhem begins to follow them on ground and air.

What follows is a high-speed pursuit that never stops. While the elements go south for the protagonists, the plot, which began on a sketchy or wobbly note, unexpectedly inches north, making the viewing engrossing. There are many thrilling moments in the 136 minutes runtime, with the police vehicles and helicopters chasing the ambulance, along with gun battles and ambushes.

But what holds the film together is the bond between the brothers, who are given sufficient development in comparison to director Bay‘s other films. Danny’s dark humor and constant state of chaos brings the film much-needed levity, while William tries to remain Danny’s moral compass all through as he stops him from breaking all hell loose at various points in the film. Amid an adrenaline-pumping sequence, the two even jam to a rock song.

Cam, the EMT, also gets a surprising heartfelt arc. Introduced with a scene that sees her saving a little girl’s life, her arc gets a thoughtful finish, despite quoting ‘he worst day of their life is just our Tuesday afternoon’.

With most of the film being shot inside the ambulance vehicle, the film’s biggest highlight remains continuing car chase that has left even Los Angles folks hooked to their TV screens on a weekday. However, the director’s distinct penchant for swooping camera movements and choppy editing often becomes a distraction.

While the overblown visual dynamic of his previous work is scaled down here, director Bay still doesn’t show the restraint needed for more nuanced fare. He also familiarly resorts to comically unbelievable scenes like the one where Cam performs an open surgery as the doctors’ dole out surgery instructions to her from a golf club, and then goes on to stop internal bleeding with her hairpin.

Performance wise, Jake Gyllenhaal seems to be having a blast with his character. It’s inspiring how he doesn’t shy away from portraying these obnoxious negative roles. Yahya Abdul-Mateen II gives his best and his chemistry with Gyllenhaal keeps us largely invested. The drop dead gorgeous Eiza Gonzalez also impresses as the paramedic and particularly shines in the third act of the film.

In other roles, Garret Dillahunt, Keir O’Donnell, Jackson White, Moses Ingram, Colin Woodell, Devan Long, and Wale Folarin are competent in their roles. On the whole, ‘Ambulance’ is a gripping action thriller laced by the familiar Michael Bay trademark style.