High-octane non-stop adrenalin rush that crams in a heist, car chase, street shoot-outs, high-risk surgical procedures, some neat characterisations, helicopters (of course) and slam-bang technical wizardry. Director Michael Bay (The Rock, 1996) is back on form with this pulverising pedal-to-the-metal thriller through the streets – and river – of Los Angeles and even finds time for a couple of sly jokes, including a reference to one of his own pictures, a paint job and a dog that (literally) stops the astonishing action.
Bank robber Danny Sharp (Jake Gyllenhaal) organising the heist of a lifetime – $32 million – ropes in brother Will (Yahya Abdul-Mateen II) sorely in need of a mere $300,000 for a life-saving operation. Not only does lovesick cop Zack (Jackson White) jeopardise the operation but an elite cop division headed by Captain Monroe (Garret Dillahunt) is lying in wait. Cue shoot-out carnage forcing the siblings to hijack an ambulance containing paramedic Cam (Eiza Gonzalez). Her passenger, a wounded cop, ensures the pursuing flotilla of cop vehicles and fleet of helicopters remains at bay.
But only for a time because Monroe is a master of drawing his victims into a trap. But that will only work with lesser villains because Sharp has not one, but two, plans up his sleeve. To rack up the tension, FBI Agent Clark (Keir O’Donnell) joins the hunt while in the ambulance, tearing along at top speed, causing more carnage during rush hour, Cam is called upon to dig out a bullet in her patient’s spleen and Will realizes he needs to be a good bad-guy.
While the action is buckled up and buckled down, there is excellent savvy background as we learn just how top cops go about snaring their victims and for all that Monroe is pumped up with arrogance Clark is there to take him down by filling us in on just what a rapacious opponent he is dealing with. Despite the film’s pace, without slowing the picture down, Bay manages to seed the characters well. Sharp’s iconic gangster – cousin to Heat’s Neil Macauley in the ruthless stakes – still takes family seriously. Will brings his military training to bear to assist Cam, a closed-off loner who blew a promising medical career on drug addiction and is easily one of the toughest females recently seen on screen.
Characters are established in a few lines – the gay Clark in couples therapy, the tougher-than-tough Monroe still a sap unwilling to sacrifice his dog, Danny not quite as psychotic as his father. And there are some great supporting characters, sassy helicopter pilot Dzazhig (Olivia Stambouliah), a stressed-out gangster and another thug who wears the wrong shoes to a robbery.
Although it’s virtually all a set-piece, the action hardly straying from the ambulance, there are still some awesome sequences, the automated attack on the cops for a start, two surgeons whisked off the golf course to guide Cam through a tricky op. The camera races around with abandon, up and down skyscrapers like a hyperactive drone.
A remake of a Danish thriller of the same name, Bay has pumped up the action, brought believable characters to the fore, and hopefully given audiences something to whoop for outside of the comic book hero. In his movie debut Chris Fedak, best known for television work like Prodigal Son (2019-2021), sticks in the occasional zingy one-liner and treats the characters as human beings.
Only Jake Gyllenhaal’s second starring role in three years, his first action film in nearly a decade should thrust him back on top of the box office after a series of more arty pictures. He’s been creepy before, most notably in Nightcrawler (2014), but Danny is more a straight line gangster. Eiza Gonzalez (Godzilla vs. Kong, 2021) is the pick of the actors, in a difficult role confined for the most part to the ambulance. Yahya Abdul-Mateen II (Candyman, 2021) does well in what in other hands could have been a thankless role. Garret Dillahunt (Army of the Dead, 2021) and Keir O’Donnell (The Dry, 2020) are names you might hear more of in the future.
2 thoughts on “Ambulance (2022) **** – Seen at the Cinema”
I share your enthusiasm for this, I’d put it not far off Speed in managing to hold a concept and make it real. I wish I’d thought of ‘pulverising’ but blistering would be another word that springs to mind. I really hope people get off Netflix and venture out to their safest cinema perch to see this, because it’s a reminded of the kind of white-knuckle ride that only cinema can offer, and a terrific comeback from Bay.
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Be interesting to see if it does command the box office when it opens in the US. Surprised it opened here first. A great concept and well worked out. Most of the effect will be lost on the small screen.