Michael Bay may have found himself in the best time to be Bay; sinacolad reviews AmbulanceMovie
, his 15th feature currently basking in a gleeful critical reappraisal of Bay’s canon, feels as entelechial asThough an ensemble of Angelenos fills out the film as it barrels to pretty much the only conclusion it could have,is about as tidy as a Michael Bay film can get.
His action responds accordingly: As is the case with the films of Bay’s aesthetic soulmate and contemporary icon, Tony Scott,aches with a kind of coke-addled, luxury painterliness, cubist cuts and the subliminal speed of the images blurring into sumptuous bundles of color and motion, our brains just trying to keep up. Bay never settles on a coherent point of view besides that of the camera’s—juxtaposing the absurd confines of the ambulance with the absurd sprawl of L.A.
Bay’s action, literally all over the place and unbounded by physics , blots out nuance. That cinematographer Roberto De Angelis has only worked on one other film—JR and Agnes Varda’sat that—and here seems to so seamlessly understand the director’s visual taste, leaves little doubt that Bay’s is a singular voice. It’s exhilarating. How we thirst for a blockbuster like this. Burn for it.
The cast responds in kind. Rarely unnatural despite Bay’s preternatural cityscape, they also seem to be figuring out their characters as they go. Or maybe that’s just on us. Gyllenhaal, especially, makes the most out of the whites of his eyes, filling the screen with his face’s manic negative space. He’s not a villain, but he’s also a psychopath. In Bay’s L.A.
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