If You’re Interested In Action Cinema, You’ve Probably Heard The Name Michael Benjamin Bay, Creator Of Bad Boys, The Rock, 6 Underground, And Transformers. 

An American director whose works are known for their large budgets is a particular style of dizzying filming, stressful editing, massive explosions, and special effects. Michael B. is one of the most famous action filmmakers in action film production, whose films have been well received at the box office and have achieved high sales. One of the most successful commercial filmmakers, his work is sometimes criticized by critics and deemed worthless.

Ambulance film (Ambulance), Michael Bay’s latest work, is not a picture of separation from other pieces of the director’s filmmaking career. An ambulance is an action with highly commercial features that, like Michael Benjamin Bay’s other works, are filled with scenes of conflict and do not rest for a minute.

The plague that action cinema always faces is the excess of form over the content of the work. Michael Bay also shows good expertise in this matter. This incident has caused the audience to close their eyes to the story while watching these films, only from action. Enjoy their framing and noise.

This director has a unique skill in promoting visual style and formal and action aspects, but he does not show any exceptional talent in a narrative style.

In the following, part of the story of the ambulance movie is revealed.

The film begins with Sharp introducing Will ( Yahya Abdul-Mateen II). He is a veteran of the Afghan war who is now struggling with his wife’s illness and can not find a way to pay for her hospital.

At the suggestion of his brother Danny (Jake Gyllenhaal), Will robs a bank, but the plot does not go well, and they have trouble getting out of the bank. Will and Danny, two survivors of the robbery, are now fighting police in an ambulance with a wounded police officer and a paramedic on the busy streets of Los Angeles.

An ambulance is a movie after a robbery, a failed robbery at the film’s center that becomes the only excuse for a long chase.

From the introduction to the chaotic scenes of the robbery (which happens very quickly), the first 40 minutes of the ambulance try to find any rhythm. When the long ambulance chase begins, the film is in a stronger position, and the viewer enters the main world of the film. Still, this effect never reaches anything significant and profound, and after a while, it progresses in an exhausting way.

An ambulance is a post-robbery film, a failed robbery at the center of the film becomes the only excuse for a long chase.

The play builds its story on crazy escapes through the city streets and proceeds with fast-paced action. A red ambulance carries $ 32 million in cash and two robber brothers who have to escape from the police who have followed them from the ground and air.

The whole film is summed up in these false and unoriginal emotions. The viewer is forced to sit for more than 2 hours in front of a movie in which Alki tells the story of a thief and a policeman and is only doing a series of lightning and big productions. The film buys time for Michael’s specialties so that he can safely express his interests.

Like most of the director’s repertoire, the bulk of the film is a tactic, and the action spans the entire ambulance, taking precedence over content and plot.

So that the spectator can not look for a story to see, and whatever it is, it ends up with Danny and Will’s plans to escape and the efforts of the police forces to trap them.

So much so that if the viewer does not see the film’s scenes, he has not lost anything of the film’s story and has been deprived of watching only the action scenes! The action in the movie Ambulance is both a trump card and a shortcut to falling.

Bey has used all his talents on skirmishes, explosions, shootings, and insane driving and decoupage them with great care. But the same over-emphasis on technical and form issues keeps the ambulance from having a compelling and defensible story and turns Michael Bay into an action-packed, colorful but storytelling feature.

Like most of Michael Bay’s repertoire, the bulk of the film is a tactic, and the action spans the entire ambulance, surpassing the content and plot.

In the shadow struggle that the concentration of tactics casts on the film, the characters take a one-dimensional approach and are pushed to the story’s margins. The characters are the faintest and most obscure elements and events of the ambulance film that have been crushed and destroyed under the cycles of these street chases.

Each character has only one or two not-so-prominent features that make a meager, inefficient attempt at the characterization process, which takes on only a decorative aspect and turns the characters into controllable puppets. They enter the story, and you do not know who they are until the end.

Kam (Eiza Gonzalez), a paramedic treating a wounded officer in a stolen ambulance, appears so non-dramatic and flat that the audience imagines that Michael Bay will play a part in his films just for his portrayal of women.

This theft is considered unsuccessful. Throughout these 2 hours, Kam is an alien character.

The viewer does not fully understand his thinking. At the end of the film, it is impossible to know how his dry and severe character, for example, changed and went after the child he had saved, or how emotion overcame him and saved Will. Saying dialogues like, “I was a medical dropout! I was taking amphetamines, and I messed up everything!”

Danny and Will’s characters are also victims of all the action and chase; nothing can justify Will’s skills, even if he is described as a veteran. Will pushes everyone aside with extraordinary talent, causing a lot of damage, but nothing happens to himself and his ambulance.

The only thing that comes to mind is the decorative drones, snipers, and police cars for an action movie. The consistency has sacrificed most of its glitter, plot, and characterization. Danny, the mastermind of the hours after the robbery, is worse off than Will and Kam.

He acts like an Android man, a character who is only programmed to escape from the police force. Danny is more unfamiliar with his character than any other character in the film, so much so that after the ambulance ends, the viewer first forgets about Danny.

Exaggeration is an integral part of the world of Michael Bay’s films.

His repertoire is full of works whose actions and events are displayed with very high concentration. In this film, Kam and Will perform a severe operation in an ambulance during insane driving and stop the bleeding of a wounded policeman with his hair clips!

This operation during the chase reminds us of his underground film six and repeats the director’s cinema.

The idea is that our laws do not need to be objective in actual society. An ambulance is another film by Michael Bay, an exciting but unassuming movie full of old Hollywood noises and ideas with expensive special effects, ground and aerial filming with unique angles, striking colors, the use of feminine charm, and a lack of narrative.