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Ambulance Movie Review 2022

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Ambulance Movie Review 2022

A subtle adult drama is not the purpose of hiring Michael Bay. It’s true that “Bad Boys” and “Transformers” director Jonathan Liebesman has a distinct style – just that his signature involves massive explosions and dizzying drone shots. The latest film from Bay is “Ambulance,” a juicy steak that will satisfy the more vulgar auteurists of the world.

There are a few notable differences between “Ambulance” and the Danish film “Ambulance,” released in 2005. Each film revolves around brothers who are forced to commit bank robbery to pay for their relative’s medical expenses.

Instead, Danny Sharp (Jake Gyllenhaal) becomes a sick wife rather than a dying mother, which exacerbates the conflict between him and his adopted brother, Will (Yahya Abdul-Mateen II). Good guys have principles in Bay’s world and bad guys don’t, even when those principles don’t make sense anymore. The point isn’t that it makes sense anymore. What matters is the emotional impact.

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Both films feature an ensuing heist that goes horribly wrong, leaving the duo to attempt to escape from the police cruisers, SWAT vehicle and surveillance trucks that surround the bank by using an ambulance as a combination getaway vehicle/camouflage.

In Bay’s version of the story, however, the heart patient dying in the back seat of the stolen ambulance isn’t just a hapless person who has fallen victim to a heart attack. As much as we thought badge worship might have a role to play in this story, we couldn’t foresee it. And while Ambulance runs a tight 80 minutes, this film stretches out at a leisurely 136 minutes.

In any case, we wouldn’t want to suggest that watching ‘Ambulance’ is relaxing. It begins with an emotionally manipulative register, stating that the medical bills and pills bottles in the film are bathed in the same golden light that surrounds Will’s saintly wife Amy (Moses Ingram) as she cradles their infant daughter.

The couple’s finances are at their limit since Amy was diagnosed with cancer. Will reluctantly reconnects with his flashy, glib brother to borrow money for Amy’s upcoming surgery, and the plan is to borrow money from him. Rather than a few hundred thousand dollars to settle the insurance companies, Danny played by Gyllenhaal offers him a payday of $8 million.

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Following the introduction of the film’s third lead, Cam Thompson (Eiza González), the film’s botched robbery plays out like Heat on steroids. It’s not uncommon for action-movie characters to be as cynical as Cam; she tells her new partner that rescuing a little girl impaled on a piece of wrought-iron fencing is just a job and she doesn’t care what happens to her.

Despite her hostage experience she’s an EMT who was with Danny and Will when their ambulance was stolen-will Cam’s desire to save lives reignite? Who’s to say? In any case, Cam operates a life-saving procedure while two trauma surgeons FaceTime in from a golf course after the ambulance took off on a “Speed”-Esque chase through a traffic-free Los Angeles.

Blood is spattering from the officer’s wound in squishy streams. A truck driven by Danny plows down traffic cones and speeds up highway overpasses at 60 mph the wrong way. The FBI hostage negotiator is on the phone, demanding to know what the hell is going on. Will is attached to the body on the stretcher, serving as a human blood bag. Everyone is screaming. Suddenly Cam’s laptop stops working. As for the cop, his spleen just burst, so she’ll need to finish the surgery herself.

A breathless roller-coaster ride, “Ambulance,” is all peak and no valley made all the more disorienting by Bay’s hyperkinetic shooting style. Early dialogue scenes are shot from low angles with pivoting camera movements.

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During the action, the combination of volatile drone photography – photographer Roberto De Angelis has a favourite shot where he zooms up the side of a skyscraper, then descends into the concrete with nauseating speed – and frenetic editing makes it difficult to track who’s pursuing who.

Moreover, the flaming cars flying at all angles, including directly toward the camera, make things even more difficult.

Though roller coasters aren’t all that exciting, they’re fun nonetheless. In the end, if you surrender to the chaos of “Ambulance,” and allow your brain cells to be scattered like fruit as the vehicle crashes through an LA street market, then you will have an enjoyable time–a disorienting, overly long but enjoyable time.

It appears that Bay is having fun as well. In addition to packing as many comic relief moments into the film as he can, the director casts his own dog in an absurd cameo role and allows throughout the film numerous references to Bay’s earlier films from screenwriter Chris Fedak.

Thanks to the sheer volume of flames on screen, it looks like the film cost much more than $40 million. Thus, Bay holds his end of the bargain as far as he is concerned.

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