Name: Ambulance
Genre: Thriller, Action, Drama
Released: 2022-03-16T00:00:00+00:00
Cast: Jake Gyllenhaal, Yahya Abdul-Mateen II, Eiza González, Garret Dillahunt, Keir O'Donnell

The opening shot of Ambulance (2022) is a chaotic swirl of drone footage, swooping over Los Angeles like a mosquito buzzing around a wound. Director Michael Bay, the king of explosive set pieces and frenetic editing, has found his perfect vehicle—a literal ambulance careening through city streets, pursued by cops. The film’s premise is simple: two brothers (Jake Gyllenhaal as Danny Sharp, the charismatic criminal, and Yahya Abdul-Mateen II as Will Sharp, the desperate veteran) steal $32 million in a bank heist gone wrong and flee in an ambulance, with a critically injured hostage (Eiza González) in tow. It’s a high-concept thriller that should thrive under Bay’s direction.

And yet, Ambulance feels like a film edited mid-panic attack. The relentless pacing and shaky camerawork, while visually impressive, often obscure the story rather than enhance it. Bay leans heavily on his signature style—explosions, gunfights, and rapid cuts—but the lack of breathing room makes it difficult to connect with the characters or care about their fates. The drone footage, meant to add a modern, cinematic flair, instead feels gimmicky, as if Bay is trying too hard to hide the film’s structural weaknesses.

Where Ambulance succeeds is in its performances. Gyllenhaal and Abdul-Mateen II have undeniable chemistry, their brotherly bond grounded in genuine affection and mutual desperation. Gyllenhaal, in particular, delivers a standout performance, balancing charm and menace with ease. His character, Danny Sharp, is the kind of magnetic criminal Bay excels at portraying—flawed but fascinating. Abdul-Mateen II holds his own, bringing emotional depth to Will’s moral dilemma as he struggles between loyalty to his brother and the weight of his actions.

The action sequences are undeniably thrilling, with Bay pulling out all the stops for set pieces that are as visually impressive as they are audacious. The film’s use of practical effects and real stunts adds a layer of authenticity that CGI-heavy blockbusters often lack. However, the constant bombardment of sensory input can be exhausting, leaving little room for nuance or character development.

The film’s attempt to balance action with drama falls flat in several places. The emotional beats often feel rushed or underdeveloped, as if Bay is too eager to move on to the next explosion. The subplot involving Will’s wife (Moses Ingram) and her medical bills adds a layer of pathos but feels tacked on rather than organically integrated.

Ambulance is a film that knows how to thrill but struggles to tell a coherent story. It’s a visual spectacle, but one that sacrifices depth for style. The performances from Gyllenhaal and Abdul-Mateen II are the film’s saving grace, providing moments of genuine emotion amidst the chaos.