He bends under pressure and makes some ugly mistakes that complicate the plot in interesting ways. He could snap at any moment, but in what direction? Will is a good man in a desperate situation, and while he’s acquired a number of skills as both a soldier and a reformed criminal, he’s not as single-minded or mechanical as Danny. Gyllenhaal excels at playing phonies and psychos, and he makes Danny equal parts funny and menacing. He frequently extols his love for his brother, but he’s so self-interested that it’s hard to tell if he means it or if he’s just pushing Will’s buttons to get what he wants. Danny thinks he’s a smooth operator, but is actually wound tight and unpredictable. We learn most of what we need to know about each of the three principals in the few minutes before the chase begins. Most of the rest of the film is essentially one long car chase whose intensity spikes and ebbs multiple times to make room for plot development and (limited) character exploration. By minute 20 of the film, the heist has not only occurred but gone totally sideways, and the Sharp Brothers are leading the LAPD and on a high-speed chase in a stolen ambulance with a hard-headed EMT and a dying cop riding in back. Flanked by a crew of cartoonish, entirely expendable flunkies, Danny and Will set out to steal $23 million in cash. Instead, Danny prods Will into joining him in a huge bank heist he’s been planning and they gotta leave right now, actually, let’s go rob a bank like right this second.
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He goes to see his rich criminal brother Danny (Jake Gyllenhaal, Nightcrawler) hoping for a loan. Out-of-work US Marine veteran Will Sharp (Yahya Abdul-Mateen II, The Matrix Resurrections) needs a quarter-million dollars fast so he can pay for a life-saving experimental surgery for his wife, Amy (Moses Ingram, The Tragedy of Macbeth). Cut to the Chase and Then Back to the Chase and Back to the Chase Again Bay’s latest, Ambulance, falls into the latter category it’s a breathless, brainless twisted metal thrill ride that’s simple but never boring.
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At its best, it can give you the rush you get from seeing a really cool movie trailer and sustain it for two-plus hours.
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At its worst, this can rob a film of any sense of dynamics - nothing pops, because everything’s as visually loud as possible. Bay is famous for trying to make every shot of his movie as epic as possible, whether it depicts a car crash, a phone call, or a parent rocking a baby. You know his deal, right? He’s the maximalist music video director-turned-action cinema auteur responsible for a handful of canonized action flicks, one good Transformers movie, four unwatchable Transformers movies, one cult classic, and two thrillers about troops that I haven’t seen and you probably haven’t seen either.