Ambulance (2022) is an English Action, Crime, Thriller movie directed by Michael Bay and casted by Yahya Abdul-Mateen II, Jake Gyllenhaal, Eiza González.
Plot:Needing money to cover his wife’s medical bills, a decorated veteran teams up with his adoptive brother to steal $32 million from a Los Angeles bank. However, when their getaway goes spectacularly wrong, the desperate thieves hijack an ambulance that’s carrying a severely wounded cop and an EMT worker. Caught in a high-speed chase, the two siblings must figure out a way to outrun the law while keeping their hostages alive.
Jake Gyllenhaal is the stronger two of the leads as Danny Sharp, the desperate criminal out to make a massive score, no matter the cost. Gyllenhaal is a fine actor, and knowing what kind of film he’s in, plays Danny like the deranged love child of Al Pacino and James Woods. Jake doesn’t just chew scenery in this flick. He spits it out and stomps on it after he’s done.
Manteen II is far more subdued in his role as the conflicted brother who is torn between providing for his family and doing the right thing. The dynamic between the pair is dynamite, and one of the flick’s better elements, but Manteen II is given little to work with outside of his “innocent-trapped-in-a bad-situation” role.
Eiza Gonzalez is equally adrift as the medic the brothers kidnap. There’s an attempt to flesh out her character with some side story about her being an emotionless hard-ass, but it kinda feels tacked on and pointless.
What elevates Ambulance is Bay’s go-for-broke direction and technical wizardry. The cinematography is stunning and thanks to the use of drones, action footage that has never been captured before is seen, like when a cop car explodes and the camera glides underneath it, through the flames, as it lifts off the ground! Bay has not lost his touch when it comes to capturing action, however, the onscreen violence in the film, aside from the gruesome surgical scene, is all rather toothless and restrained.
Unfortunately, there are so many uninteresting side characters and odd bit and ends to these background roles that the intention, and purity, of Bay’s simplistic action thriller gets lost in the chaos. When we should be exhilarated, we are exhausted. By the time the flick reaches its foregone conclusion, we feel like we’ve been put through the ringer.
Although Gyllenhaal is in top form, and Bay is the king of mayhem, Ambulance wears out its welcome by the end. There are great parts, but as a whole, it doesn’t work.