Ambulance

Rated: MA15+Ambulance

Directed by: Michael Bay

Produced by: Michael Bay, Bradley J. Fischer, James Vanderbilt, William Sherak, Ian Bryce

Screenplay by: Chris Fedak, based on the original story and screenplay for the 2005 Danish film Ambulancen by Laurits Munch-Petersen and Lars Andreas Pederen

Starring: Jake Gyllenhaal, Yahya Abdul-Mateen II, Eiza González.

‘We’re a locomotive, we don’t stop.’

Danny (Jake Gyllenhaal) and his brother Will (Yahya Abdul-Mateen II) are escaping a bank robbery gone wrong in an ambulance.

They have two hostages, an EMT (Eiza González) and a shot cop needing emergency surgery.

It’s a Michael Bay action movie.

And I don’t necessarily mean that in a bad way.

But some of the storyline, like the emergency surgery conducted by Cam the EMT in the back of the ambulance with instruction via Face Chat from surgeons taking a break from playing golf, pushed the storyline to the ridiculous making the cast have to work really hard to make the film believable enough to be watchable.

Yes, it’s a classic action film, with some awkward humour that rarely hit the mark, and yet being a classic action the light-hearted crazy from bad-brother Danny complimented the high-speed chases as the two brother are chased across LA by choppers and souped-up cop cars all to a soundtrack that just kept revving faster and faster.

It’s a quintessential LA setting with graffiti, and rubbish-strewn streets; the city lights and mesmerising, layered highways.  Ambulance is about two brothers growing up in LA, one who follows in his father’s footsteps, a well-known robber with a reputation of being psychotic, the other brother choosing a different life, to become a marine.

So there’s a back-story to the brothers’ relationship that keeps up the drama; Will doing right but right doesn’t pay for his wife’s desperately needed surgery.  So when he asks his wayward brother for money, it’s a matter of Will having to help him pull off a $32 million bank heist to get it.

And Danny can be very convincing.

Then there’s the EMT Cam – she can keep anyone alive for 20 minutes, but no one wants to be her partner.

One of the highlights of the film is Cam mystified seeing the two brothers singing the 80s classic, Sailing, while trying to relax mid-escape.

There’s a lot of tongue-in-cheek humour mixed with flashbacks to childhood montages with emotive music that kinda worked.  But what really worked in this film was the awe-inspiring camerawork that had the action spinning around to fly straight up into the air.

Really, the car chases and explosions are next level.

So medical procedures, high speed car chases and strange humour that had me scratching my head, like – ‘what did you do to my legs?!’ asks one robber after his legs are twisted the wrong way after being run over.

But overall, Ambulance is worth a watch just for those high-speed action shots.

Godzilla Vs Kong

Rated: MGodzilla Vs Kong

Directed by: Adam Wingard

Produced by: Thomas Tull, Jon Jasni, Brian Rogers, Mary Parent, Alex Garcia, Eric McLeod

Screenplay by: Eric Pearson, Max Borenstein

Story by: Terry Rossio, Michael Dougherty, Zach Shields

Based on: Godzilla by Toho King Kong by Edgar Wallace and Merian C. Cooper

Starring: Alexander Skarsgård, Millie Bobby Brown, Rebecca Hall, Brian Tyree Henry, Shun Oguri, Eiza González, Julian Dennison, Kyle Chandler, Demián Bichir and Kaylee Hottie.

Kong bows to no-one.

But it’s a fight until one submits when it comes to the Alpha Titans.

A sequel to, Godzilla: King of the Monsters and Kong: Skull Island, here the ancient enemies, Godzilla and Kong are kept apart – Kong detained back at Skull Island and Godzilla keeping his peace with humanity. Until he attacks Apex Cybernetics seemingly unprovoked.

But there’s more to Apex lurking beneath the surface, Godzilla instinctively sniffing out any challenge…

There’s always an expectation with the mega monster movies of some cheesy moments, Godzilla Vs Kong the fourth film in Legendary’s MonsterVerse – and there’s some borderline dialogue with cliché comments like Dr. Nathan Lind’s (Alexander Skarsgård), ‘I might have an idea, but it’s crazy.’

And, ‘No one keeps the reigns on Kong,’ from Dr. Ilene Andrews (Rebecca Hall).

But combined with Kong waking up, scratching his hairy butt before taking a morning wash under a waterfall, it all kinda blends into a light-hearted banter that keeps the film rolling in between explosive monster fighting action.

Godzilla Vs Kong is loud, colourful and at times I felt like I was on a roller coaster.

Going back into the history of the two ancient titans, with redacted documents flashing at the beginning of the film, I thought there’d be more to the story. But the backbone of the film is the fight to be the alpha titan: the fight not so much the why.

What was surprising was the effects as ships sped up to 600km through blue lights and exploding through a crack in the centre of the earth to break into the upside-down Hollow World that tilts back onto itself, filled with sparkling blue rocks and lush forests and bat-like vultures reaching out with strong legs to rip you apart.

I highly recommend viewing this film on the big screen.

Made for a younger audience with asides from returning character, Madison Russell (Millie Bobby Brown), along with, I’m-afraid-of-guns, Josh Valentine (Julian Dennison); there’s also the conspiracy theorist, Bernie Hayes (Brian Tyree Henry), and, ‘That podcast is filling your head with rubbish,’ from Madison’s dad – I was still able to have a giggle at the antics of the characters, while silently cheering for both Kong and Godzilla. Hard not to be a fan of both.

And while there’s nothing new here with the story (or didn’t feel like it,anyway), I enjoyed the spectacle.

For me, better than, Godzilla: King of Monsters but not as good as, Kong: Skull Island (John C. Reilly as Marlow: pure gold).

Baby Driver

Rated: MA 15+Baby Driver

Written and Directed by: Edgar Wright

Produced by: Nira Park, Tim Bevan, Eric Fellner

Starring: Ansel Elgort, Kevin Spacey, Lily James, Jon Bernthal, Eiza Gonzalez, Jon Hamm and Jamie Foxx.

If you’re going to open a film with a car chase, there’s nothing better than synchronising the action to, The John Spencer Blues Explosion.

Now this band brings back some memories – not burn-outs or car chases but I did manage to maroon my VC Commodore on a boulder out on a backroad near Byron Bay.  What a road trip; the music in the tape deck including the, John Spencer.  So, I was already grinning when the opening of Baby Driver exploded onto the screen.

What I didn’t expect was the huge part the sound track played in this film.  Almost to the point of being a musical with the stylised drama and overacting that somehow fit because all the moves were in time to some cool track.  See sound track here…

Obviously the film’s about a driver named Baby (Ansel Elgort).  Who’s managed to get himself into the debt of a criminal mastermind, Doc (Kevin Spacey) who puts crews together to do jobs like rob banks – any Job that requires a driver, Baby gets called.  And like his name there’s something sweet about the guy.

Baby Driver is an interesting blend with this sweetness potentially turning the film into cheese.  But director and screenwriter Edgar Wright has replicated the same tone of comedy and romance and music as his previous films (think, Shaun of the Dead (2004), Hot Fuzz (2007) and The World’s End (2013)) but then adding action, reining in all the elements so one didn’t take over from the other but instead complimented: the romance being the motivation; the action creating adrenaline; the comedy for that bit of relief…  Along with camera shots completely in tune with the soundtrack to make a very entertaining film that felt different because of that tone of sweet.

And the love story added a nice touch.  From an absolute kick arse driver opening up to the most amazing car chases I’ve seen on screen to the love Baby finds with the waitress, Debora who dreams of, ‘heading west on 20 in a car I can’t afford, with a plan I don’t have’.

It’s a match made in heaven.

And I really liked the cast here – the character, Baby, needing a strong, likable performance from Ansel Elgort to get away with those dance moves which he did when he could make cars dance the same way.  And Lily James as Debora (Pride and Prejudice and Zombies (2016)) reminded me of the late Brittany Murphy which made me a little sad.

I loved seeing Jon Hamm as the bad arse Buddy.  And Kevin Spacey as the master criminal, added a little grounding.

With initial concern about the title, Baby Driver (I mean, what the?!  Baby?!  How cheesy is that!), I get the tone after seeing the film: that 50s vibe coming through with the setting of the diner and Debora the waitress wearing those old-style outfits with a classic openness of character you’d expect from earlier times with no cynicism in sight.  I get it.

So, not the action/thriller I was expecting, instead, Baby Driver’s kinda cool, without being slick.

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