Ambulance

Find out how you can watch the latest Michael Bay action-thriller starring Jake Gyllenhaal, Yahya- Abdul-Mateen II, and Eiza González! Ambulance-movie- ...

No, Ambulance will not be available on streaming the same day it releases in theaters. No word yet on when Ambulance will be available on Blu-ray and DVD, but movies usually get released on those platforms three to four months after premiering in theaters. Yes, Ambulance will be released in U.S. theaters on April 8, 2022. Ambulance will be released theatrically in the U.S. on April 8, 2022. As for VOD, movies on this platform come out one to two weeks before hitting Blu-ray, so expect to see Ambulance on VOD in either June 2022 or July 2022. The first trailer for Ambulance was released at Universal's CinemaCon presentation on August 25, 2021, and then online on October 21 of that same year.

Human society can be seen as one big extension of the internal systems keeping every one of us alive: an intricate, interwoven series of organisms with ...

While Bay has never switched up this style and likely never will, one of the things that makes "Ambulance" so unique and exciting is the way he applies it to a story that invites empathy, nuance, and debate. Shot for just $40 million as a way for the director to make a small movie during the pandemic—let me restate that for emphasis: Bay's version of "small" is a film where entire swathes of vehicles are crashed and exploded — "Ambulance" endorses Danny and Will's credo of "we don't stop," moving like a bat out of hell as soon as things begin to go south. Bay is a master at delivering a flurry of information in a compressed amount of time (witness the genius of his famous "Got Milk?" commercial), which is why his feature-length movies tend to feel exhausting and overstuffed. However, where that film was more intimate, Bay and Fedak's "Ambulance" expands to include nearly the entire city of LA, with the three principals at the heart of the conflict. As he steps out of the vehicle, Danny is shot from behind by a still conscious Will, the two brothers sharing a final look as Danny dies and Will is arrested. With Fedak and Bay's interest in approaching the film from a macro perspective (figuratively and also literally, with regard to the cinematography), "Ambulance" becomes a remarkably nuanced and empathetic movie where the heroes and villains are not so clear-cut.

Crisscrossed with the city's freeways and art deco architectures, this is Bay's “La La Land,” just with explosions instead of song-and-dance routines. For Bay, ...

Next to films like “Armageddon” and the “Transformers” movies, “Ambulance” was made for a surprisingly modest $40 million. For Bay, and perhaps only Bay, “Ambulance” is a relatively small and contained film. It has a gripping, gonzo glory — Bay knows just how far-fetched this sort of movie should be — and it’s paced by an abiding affection (and a lot of drone shots) for Los Angeles. Crisscrossed with the city’s freeways and art deco architectures, this is Bay’s “La La Land,” just with explosions instead of song-and-dance routines. “Speed” and “Die Hard” are just a few lanes over from Bay’s film, which opens in theaters Friday, and so are some of the director’s own movies. In the sirens of “Ambulance,” you can probably already hear the echoes of other movies. The robbery fails to go according to its hurried and haphazard plan, and, like in Michael Mann’s “Heat,” a bank-job-gone-wrong spills out onto downtown Los Angeles streets.

Directed by Michael Bay, "Ambulance" stars Jake Gyllenhaal, Yahya Abdul-Mateen II, and Eiza González in a heist thriller that's wild fun. Review.

With a bold presence and a steely gaze, Eiza González brings the hard-nosed opposition to the cowboy antics of her captors. Bringing the energy of a coked-up douchebro, Gyllenhaal embodies the tone of a Michael Bay movie, making every moment he's onscreen explosive. The movie star who's made his name with charged performances delivers one of his all-time best as a control freak out of control. But the clunkiest bit is a climax that should be ruthlessly thrilling. That's the thing about Bay. He can bring in big drama and earnest themes of brotherhood and betrayal along with snarling men of action, but he refuses to lose his sense of humor. Then Bay takes things to an extreme that is so outrageous it's genuinely hilarious: surgery in the back of the ambulance during a high-speed chase. These moments not only give us a break to take a breath amid all the action, but they also bring fresh life to stock characters we've seen bunches before, from the rookie cop to the tough broad to the crook with an honor code. The editing team masterfully slices from the booming panic in the ambulance to the tranquility of a golf course, where two baffled surgeons get called in to consult over FaceTime. Like the last Fast and Furious entry, F9, this Ambulance sequence plays with sound and silence, mayhem and muteness, to knowingly hysterical effect. In classic Bay fashion, the whole fleet of crooks and cops are filled with quirky characters, oft-played by captivating character actors. Like the villains of The Rock, Will Sharp (Abdul-Mateen) is a Marine fallen on hard times, essentially betrayed by the nation he defended with his life. Screenwriter Chris Fedak transports this story to modern-day Los Angeles, which gives Bay the perfect opportunity to relish in his deep love of the city. With Ambulance, Bay pairs up dashing leading men Jake Gyllenhaal and Yahya Abdul-Mateen II for an adrenaline-fueled heist that is an absolute blast.

Meanwhile, somewhere else in Michael Bay Land, a woman who is clearly the most gorgeous EMT in Los Angeles is also the best: in an early scene, she capably ...

He has also said that Ambulance cost $40 million to make—for comparison, The Suicide Squad cost some $185 million—and was shot in just 36 days, during a pandemic, no less. He doesn’t have a subtle bone in his body, but his boldness is one reason to love him. The human component counts for something here: Abdul-Mateen’s Will is the character who does the wrong thing for the right reasons, and his anguish is the movie’s guiding emotional light. Will, preferring the straight and narrow, joined the Marines. Now he’s out, with a family of his own, but his government has wasted no time in un-thanking him for his service. And so Will turns to his estranged brother Danny, who runs a luxury-car outfit—allegedly. But his real business is robbing banks, and he’s just about to pull off a big job. In 2022, Michael Bay’s style of filmmaking is as quaint as a bonnet.

Yahya Abdul-Mateen II ("Candyman") costars as Will, Danny's adoptive Black brother and an Afghan war hero with no job. Danny needs $231,000 for cancer surgery ...

Bay allows the gifted Gonzalez ("Baby Driver") to play a woman of heart and mind instead of a sex object designed for the camera to leer at. "Ambulance" takes place in a single day that whooshes by without for a second bothering to be compelling or credible. "Ambulance" is in theaters to fulfill your need for speed, but did it have to be this loud, long and ludicrous?

The only difference is that the woman in 1930, fully dressed, is invited to join in the communal chorus of a song, whereas today's heroine, Émilie (Lucie Zhang) ...

The standout is Merlant, who starred in “Portrait of a Lady on Fire,” and who stands on the brink of great things. The title of the new Michael Bay film is “Ambulance,” which, coming from the man who brought us “Armageddon” (1998) and “Transformers: Age of Extinction” (2014), feels like a bit of a downgrade. In the back are two handy hostages: Zach (Jackson White), who’s been shot, and Cam (Eiza González), a tough-skinned paramedic who is tending to his wounds. “Paris, 13th District” may be antsy on the eye, but “Ambulance” makes Audiard’s film look like an Andrew Wyeth. The jitters triggered by Bay—who, in earlier decades, would surely have made his mark at Warner Bros. animation, toiling on Looney Tunes—seem to tremble unceasingly, and intentionally, on the verge of the ridiculous. In truth, of course, they are alone, connected only in the ether, and you can sense the movie mapping a world of mass erotic availability and asking: What’s love got to do with it? The most melancholic saga, in the movie as on the page, concerns Amber Sweet (Jehnny Beth). That is the nom de porn of an online performer, famed as a cam girl, who, by mere chance, is a dead ringer for Nora. The coincidence comes to the attention of Nora’s fellow-students, who believe, to their glee, that she is the real Amber. There’s a terrifying wide shot of a lecture hall, dotted with the glow of multiple phones—a swarm of digital fireflies—as hardcore images are shared. The multiple couplings, filmed in monochrome and framed with care, may have a certain classical formality, as if bronze and marble statues had come to lusty life, yet the emotions on display acquire a gradual warmth, concluding in the radiant closeup of a kiss. She lives for free in an apartment belonging to her grandmother, who is in an old people’s home, and earns easy cash by taking in a lodger. “Killing and Dying,” for instance, Tomine’s tale of an aspiring standup comic, is pared down to a subplot about Camille’s sister, Éponine (Camille Léon-Fucien). If she ever tries out her material onstage, we never see it. The only difference is that the woman in 1930, fully dressed, is invited to join in the communal chorus of a song, whereas today’s heroine, Émilie (Lucie Zhang), is naked, sprawled on a couch, and crooning solo into a microphone. Relationships, too, are splintered and fleeting, some of them started and finished in less time than it takes to eat an entrée. One evening, Émilie, who is waitressing, pauses to check her cell phone, likes the look of the man she sees there, asks a colleague to cover for her while she runs an errand, hurries home, has sex with the man, and returns to the restaurant to resume normal service. (Even the diners applaud, as if feeding on her bliss.) Rather than frowning on her fecklessness, or diagnosing a case of anomie, he simply lays out the tactics of the modern thrill-seeker for our perusal.

Michael Bay's L.A.-set gonzo action thriller 'Ambulance' stars Yahya Abdul-Mateen II, Jake Gyllenhaal and Eiza Gonzalez.

But then, mostly the actors seem hired less for their roles than for their agility in stepping nimbly away when one of Bay and director of photography Roberto De Angelis’ drone-mounted cameras comes barreling at them with the unstoppable force of a surface-to-air missile. The CGI here is minimal, and Bay recently clarified comments he made about its quality, saying there are, in fact, only two shots he doesn’t like in the whole movie. By appealing to their shared past (the Will-Danny relationship is steeped in brotherly Baythos, and damned if it doesn’t kind of work). Will gets talked into it, but the heist goes awry early when lovelorn Officer Zach (Jackson White) pushes his way into the bank at exactly the wrong moment and gets shot for his trouble. Less care was taken beefing up the screenplay (adapted by Chris Fedak), but one hardly comes to a Michael Bay movie for the Wildean wordplay. Probably wise that it is set in the titular emergency response vehicle, ensuring easy access during shooting to defibrilllators and tongue depressors.

Michael Bay used his talent for talking to cops, and the fact that they love his movies, to help save money on his new movie Ambulance.

“He’s always had a wonderful relationship with law enforcement,” Fischer says of Bay in a phone interview with Polygon. “I mean, look, that’s the kind of thing that it takes sometimes. [...] He knows the difference between when they’re surveilling a group of criminals and when they’re gonna intervene. They literally would block the freeway for me and do a rolling block. “I’m like, ‘Hey, I would love to put you in the movie. Bay got the chance to flex this skill on one of Ambulance’s first days of shooting. Nothing is ever low-key when it comes to Michael Bay. But with a budget of just $40 million, his latest film, Ambulance, is a little more down-to-earth than his five Transformers movies, or even his Netflix project, 6 Underground. Bay made the most of his slightly smaller budget, and Ambulance is still full of shootouts, explosions, car chases, and action.

The actor, who rented a broken ambulance to prepare for the role, reflects on the surprising sensitivity with which Michael Bay treated her character, ...

But as a fan of you and the rest of the cast, I have to admit that I was a bit frustrated because it seemed like everyone got less screen time or material than expected. This is your opportunity to go a different route and I know that you’re going to do such a good job with this role.” So I felt very protected by her, and it’s the warmest room. So it really helped my performance, and I’m so grateful that he endured all of that stuff for me and the rest of the cast. So it just goes to show that slowly but surely, these types of movies can actually exist, and I just feel very proud that I’m part of projects that push the boundaries on that level, especially as a Latina woman. The books are just mind-bending and just really out of the norm. So it was a telling moment that I wanted to add in order to show that she started on the wrong foot that day. So I really wanted to have that down by the time I was on set so it felt seamless for Cam. Even in her opening scene, it had to feel efficient and smooth like she knows exactly what she’s doing, and I do feel that it paid off. So everything in that space, and the character’s physicality, had to feel like it was second nature. Gonzalez adds: “Rosamund and I are really good friends, and I’ve always shared with her my first vision of just wanting the business to look at me in a different way and sometimes struggling with that. A lot of the story got cut out and the story was completely changed, so it was a bummer because my character had a whole different storyline that went in different routes,” Gonzalez reveals. She went from the fires in California to the pandemic, and she told me how grueling and hard it was to keep up. So everything in that space, and the character’s physicality, had to feel like it was second nature.

Michael Bay finds in the 2005 Laurits Munch-Petersen-directed Ambulancen the perfect vehicle to execute his action-laden mayhem.

Again, this is a ride and that is the end game. The fault is not in our stars, and quite frankly if all you want is a freeway chase, this one delivers on that score. Gyllenhaal plays Danny Sharp, son of a notorious criminal who is following in his father’s footsteps by trying to pull off a massive, record-setting bank heist of $32 million. Of course this is manna from heaven for the likes of Bay (Transformers, The Rock, Armageddon, Bad Boys, etc.) who never met a chase he couldn’t exploit or pound into the ground. That playground is the freeways and streets of L.A. Local residents are used to seeing movie-style chases involving the LAPD and various suspects take over actual newscasts, with choppers flying overhead to get all the action from various angles. In The Guilty, Gyllenhaal was manning an emergency call center and all the action took place there, a kind of one-man show.

In Michael Bay's latest film, Jake Gyllenhaal plays a quick-witted, charming psychopath.

But Will comes to Danny for financial help and immediately gets embroiled in a bank heist that goes bad and leads to long (a key word here) and repetitive (another key word) combat with L.A.’s finest SWAT phalanxes. You may cancel your subscription at anytime by calling Customer Service. - Opinion: When Russia Loses the U.N. . . . Michael Bay, the director, working from a screenplay by Chris Fedak, has spent decades keeping audiences in a state of anxious arousal (“Transformers,” “Pearl Harbor,” “The Rock”). In this action adventure, the apotheosis of his career thus far, cheerful idiocy occasionally rises to the level of delectable lunacy. Will, an ex-Marine, is a good man struggling to provide for his family. The main thing you need to know about “Ambulance,” showing only in theaters, is that it’s insane.

Director Michael Bay's tense crime drama centers on an Afghan War vet (Yahya Abdul-Mateen II) who gets caught up in a bank heist masterminded by his mentally ...

Under 17 requires accompanying parent or adult guardian. Motion Picture Association rating, R — restricted. The Motion Picture Association rating is R — restricted. The Motion Picture Association rating is R — restricted. This is the movie poster for "Ambulance." The Catholic News Service classification is L -- limited adult audience, films whose problematic content many adults would find troubling. The Catholic News Service classification is L — limited adult audience, films whose problematic content many adults would find troubling.

Stars Jake Gyllenhaal, Yahya Abdul-Mateen II and Eiza González joined director Michael Bay at the Los Angeles premiere of their action flick Ambulance on Monday ...

The luxury vintage shop toasted its remodel with a starry bash inside its new(ish) Soho flagship location. Stars like Rebel Wilson, Henry Golding, Dionne Warwick, Evan Ross, Taylor Kinney, Michael Trevino, Andrew Zimmern and others made the trek to Park City, Utah, over the first weekend in April to attend the milestone fundraiser. TBS celebrated the premiere of Rat In The Kitchen with an intimate dinner event in Los Angeles on March 30, hosted by series co-stars Chef Ludo Lefebvre and comedian Natasha Leggero. The event, held at Lefebvre’s restaurant Petit Trois in Sherman Oaks, featured a themed cocktail hour, a three-course dinner and impromptu French 101 lessons with the two hosts. Carole), Joshua Jackson (Dr. Death), Liz Hannah (co-showrunner, The Girl From Plainville), Melanie Lynskey (Candy), Morgan Cooper (producer, Bel-Air), Nicole Byer (Grand Crew), Rick Glassman (As We See It), Robbie Pickering (showrunner, Gaslit), Ryan Michelle Bathe (The Endgame), Shea Whigham (Gaslit) and the Hacks team of Lucia Aniello, Paul Downs and Jen Statsky. — Chris Gardner Representing this year’s Emmy contenders were the likes of Ana Gasteyer (American Auto), Bobby Moynihan (Mr. Mayor), Chris Sheridan (co-showrunner, Resident Alien), Christian Slater (Dr. Death), Elle Fanning (The Girl From Plainville), Jabari Banks (Bel-Air), Jessica Biel (Candy), John Cameron Mitchell (Joe vs. Sony Pictures Classics and The Cinema Society hosted a screening of The Duke at Tribeca Screening Room on Tuesday, with star Helen Mirren and guests Jennifer Beals, Lorraine Bracco, Padma Lakshmi and Kathleen Turner.

A thick, juicy, hilariously overwrought, gloriously stupid steak upon which the vulgar auteurists of the world can feast.

Will is attached to the body on the stretcher, serving as a human blood bag like in “ Mad Max: Fury Road.” An FBI hostage negotiator is on the phone, demanding to know what the hell is going on. And as far as Bay’s concerned, that means he held up his end of the bargain. And once the action gets going, the combination of volatile drone photography—one of Bay and cinematographer Roberto De Angelis’ favorites is to zip up the side of a DTLA skyscraper, then plunge back towards the concrete with nauseating speed—and frenetic editing makes it difficult to tell at times who’s chasing whom and in what direction. But in Bay’s version, the poor sap dying in the back of the stolen ambulance isn’t an everyday heart patient, but a wounded cop. And so Will reluctantly reconnects with his flashy, glib brother, with the intent of borrowing money to pay for Amy’s upcoming surgery. And Bay’s latest, “Ambulance,” is a thick, juicy, hilariously overwrought, gloriously stupid steak upon which the vulgar auteurists of the world can feast.

“Ambulance” is an exhausting and inane action thriller that exhibits everything wrong with the excess of filmmaker Michael Bay. Bay is the blockbuster auteur ( ...

This uneven tone is impossible to reconcile as the action becomes more and more unhinged and the sentimentality ever more saccharine. The other problem with “Ambulance” is the film's visual scope. And the story attempts to make us care about Will’s impossible situation while somehow justifying his recklessness. But in their haste, commandeering the vehicle comes with some unwanted baggage — a dying officer and an aggressive EMT (“Baby Driver’s” Eiza González). So, in addition to navigating the busy streets and avoiding the ruthless police, Will and Danny must decide what to do with their delicate hostages. And Will’s sharply dressed and drives a high-end truck that belies the image of a person at the end of his financial rope. The derivative story has decorated war hero Will Sharp (“Candyman’s” Yahya Abdul-Mateen II) so desperate enough for money that he teams up with his criminal adoptive brother Danny (Jake Gyllenhaal) to pull a massive bank heist.

Of all the many things that go fast in Michael Bay's pedal-to-the-metal retro action thriller “Ambulance” — the speeding EMS van, the army of police cars ...

Next to films like “Armageddon” and the “Transformers” movies, “Ambulance” was made for a surprisingly modest $40 million. For Bay, and perhaps only Bay, “Ambulance” is a relatively small and contained film. It has a gripping, gonzo glory — Bay knows just how far-fetched this sort of movie should be — and it’s paced by an abiding affection (and a lot of drone shots) for Los Angeles. Crisscrossed with the city’s freeways and art deco architectures, this is Bay’s “La La Land,” just with explosions instead of song-and-dance routines. “Speed” and “Die Hard” are just a few lanes over from Bay’s film, which opens in theaters Friday, and so are some of the director’s own movies. In the sirens of “Ambulance,” you can probably already hear the echoes of other movies. The robbery fails to go according to its hurried and haphazard plan, and, like in Michael Mann’s “Heat,” a bank-job-gone-wrong spills out onto downtown Los Angeles streets.

A person in the Salt River Fire Department ambulance and the other vehicle's driver were injured.

Firefighters were at the site, and lanes were shut down. State troopers said that another person in the Salt River Fire Department ambulance was injured and the driver of the semi-truck was, too. A person in the Salt River Fire Department ambulance and the other vehicle's driver were injured

A firefighter EMT is dead and two others are hurt after a semi plowed into an ambulance on State Route 87 near McDowell Road, the Department of Public ...

They went from the scene to the Medical Examiner’s Office in downtown Phoenix on Friday night. Officials say both firefighter EMT’s were men and had been on the job for less than two months. DPS says two firefighter EMT’s were in the ambulance on the way to a 911 call when they were trying to turn left off of McDowell onto Beeline Highway southbound when it was hit by the semi-truck going north.