Will Cam’s hostage experience – he’s the EMT of Danny and Will’s stolen ambulance, if you still don’t put it together – revive his passion for saving lives? Who has to say? All that can be said is that once the ambulance chases the “speed” -SQ on a curious traffic-free Los Angeles street, the cam continues to grow until the wrist is deepened in the open chest cavity of the police, performing life. -Saving method with the help of two trauma surgeons who came in facetime from the golf course. Bleeding from a police wound in a squishy geyser. Danny is behind the wheel, cutting through traffic cones and speeding highway overpasses at 60 miles per hour. The will is attached to the body on a stretcher, which acts as a bag of human blood, like “Mad Max: Fury Road.” An FBI hostage negotiator is on the phone, wanting to know what’s going on. Everyone is screaming. And then the cam laptop dies. He will have to perform the operation himself – and the police spleen has ruptured.
In short, the “ambulance” is not all peaks and valleys, a breathless roller coaster ride made even more uncomfortable by Bay’s hyper-kinetic shooting style. In the initial dialogue scene, the camera pivots around the characters in dramatic low-angle shots. And once action begins, a combination of volatile drone photography and one of cinematographer Roberto de Angelis’ choices is to zip up next to a DTLA skyscraper, then return to the concrete at breakneck speeds — and the crazy edits make it to who and what. It’s hard to say. And burning police cars flying in all directions, including directly to the camera, do not help the problem of readability.
The thing about roller coasters is, though, they are a lot of fun. And if you succumb to the chaos and let your brain cells scatter, as the wind blows so heavily, as the headline car crashes through an LA street market, the “ambulance” is an explosion একটি a confusing, very long blast. An explosion. Still, Blast Bay seems to be joking: he stuffed the film with a lot of comic relief moments like everything else, casting his own dog in an irrational cameo character, and multiple references to screenwriter Chris Fedak’s previous Bay films allowed it to be made intact on screen. The movie seems to have cost more than its $ 40 million budget, thanks to the sheer volume of burning destruction on the screen. And as far as Bay is concerned, that means he’s holding on to the end of his bargaining chip.
Now going to the theater.
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