'AmbuLAnce' Review: Bay is Back and Better Than Ever With His Latest Rollercoaster
When the discussion arises of impactful action filmmakers within the late 20th-century realm, the names Michael Mann, Lana & Lilly Wachowski, and Tony Scott among others are just a few. Their films have a rudimentary aspect to them that stands out amongst the rest in the industry. This is due to their talented and established style, thoughtful thematic within their narratives, or even their direction within the stories that wanted to be told. However, one of the most misunderstood filmmakers has to be Michael Bay.
Though he has created a divisive landscape amongst cinephiles, Bay creates a narcissistic and at times nihilistic portrayal of the modern world. Bay’s 2003 film, Bad Boys II, is a perfect example. While the film is in many ways a stereotypical 2000’s action-thriller, Bay cranks the voltage, utilizing crude and offensive humor, mean-spirited goals and high octane action carry through the film's 147-minute runtime. It's Bay’s no-hold nature that keeps fans of his coming back for more, complemented by imagery so colorful that it will make your eyes wonder if a new color has spawned. This type of self-obsessed type of filmmaking is Bay is not making movies for a crowd, he makes films for himself, always has, and always will.
Which brings us to Bay’s latest crime film, Ambulance. The film stars Jake Gyllenhaal, Yahya Abdul-Mateen II, and Eiza González and tells the story of two brothers Danny (Gyllenhaal) and Will Sharp (Mateen II) on the run after a bank robbery has gone wrong and must travel in a non-stop moving ambulance with an already shot police officer and an EMT enforcement. Again, as stated previously, a pretty stereotypical story told to pieces within the genre but Ambulance is one of Bay’s finest outings and is his most definitively human stories. Bay constantly keeps the energy consistently high and never lets up until things blow up, and even then it becomes very harrowing and moving. Unlike his previous works, Bay feels like he cares about people here. He is fascinated with the goals and aspirations of the characters and wants only the good from within them. The main aspect of the film’s opening moments is establishing a relationship between Will and Danny Sharp and understanding goals. The action is absolutely phenomenal, every explosion and gunfire feels like an event and it never lets up and only continues to impress after every The story tied with the scope of Ambulance feels very small-scaled, at times feeling akin to 80’s/90’s action blockbusters like Speed, Point Break, and To Live and Die in L. A while also feeling like paying homage to the late works of director Tony Scott. This is shown through its hyper-centric visuals, fast editing, and at times dripping sweat poured from its actors. Bay’s camera movement is something to behold, a real treat for the eyes. His introduction might have been the best addition to his filmmaking, and I hope he continues in his later films. There is something about every spin or flip of the camera that always manages to give me whiplash because of its inventiveness. The acting by the entire cast is solid, especially Gyllenhaal who feels right at home with Bay’s over-the-top whimsicality.
Ambulance is one of Bay’s finest outings, for sure. As a big fan of Michael Bay, it is very compelling to see a world-renowned hated filmmaker still making a film for himself and still managing to be pulse-pounding and exciting. While many will be crowding around to see the tent-pole and franchise films, we should be supporting and craving for new and original films, even from filmmakers that others do not seem to be a part of. Ambulance is an unapologetic showstopper, one that references previous Bay films and has no shame in not hiding that. If there is one film to see right now it is this one.