Cert – 12, Run-time – 2 hours 22 minutes, Director – David Yates

With Grindelwald (Mads Mikkelsen) now free, with a growing legion of followers, and attempting to take supreme power over the wizarding world, Albus Dumbledore (Jude Law) enlists the help of Newt Scamander (Eddie Redmayne) and co. to stop him from launching a war on the muggle world.

It’s been said by many that Fantastic Beasts: The Secrets Of Dumbledore, the third in the Wizarding World prequel series, could be the film that solidifies the fate and future of the franchise. Up until this point the previous two entries have been somewhat underwhelming (including somewhat when it came to the previous entry’s box office performance), although they do have their fans, providing little development; previous instalment The Crimes Of Grindelwald ending in very much the same place we arrived at the start of the first film. While this third entry does continue the idea that this franchise is two, maybe three, films stretched into a planned five there is at least some slight development across it and something more of a narrative arc gradually formed throughout – even if we do arrive at the inevitable dead-ends and circling again.

With Grindelwald (now taking the form of Mads Mikkelsen) now free his followers grow, putting him in good stead to seize the upcoming election which could give him supreme power over the wizarding world, being able to launch war on the muggles. While he can’t do anything himself in attacking and effectively taking down Grindelwald, due to a blood-bound spell, Albus Dumbledore (Jude Law – who truly rocks his character’s hat, and occasionally coat, and beard) enlists the help of returning Newt Scamander (Eddie Redmayne). Alongside Newt are returning faces such as ministry-working-brother Theseus (Callum Turner), Professor Eulalie Hicks (Jessica Williams – who brings a welcome deal of charm to her few scenes), muggle Jacob Kowalski (Dan Fogler) and more – a number of whom feel like new faces due to the faded memory of the previous films, an event which may happen again due to the little screen-time such figures get here.

In many ways The Secrets Of Dumbledore plays out like the previous two films, although sending its various characters in different directions of different locations in order to confuse the future-seeing villain. The narrative certainly feels somewhat stretched with a handful of tangents and extended sequences that don’t overly have a great deal of effect. This being said there certainly feels to be less sequences of could-be-silent ‘action’ dotted here and there. Dialogue appears to play more of a part within this film and the course that it takes, mostly coming into effect and prominence in the second half once the elements have been properly built up towards – it certainly makes for a third act that flows rather well with the progression that it displays compared to the rest of the story. Perhaps this is down to the fact that J.K. Rowling, who penned the previous two films alone, is joined on this screenplay by Steve Kloves – who wrote the screenplay for each of the Harry Potter adaptations, excluding Order Of The Phoenix. Pushing the dialogue forward, particularly as the film goes on, and simply adding that built more detail to the narrative.

The narrative as a whole doesn’t completely develop much, neither do many of the elements, but at least it feels as if something happens within this film. Those elements may not have much to do with the alleged secrets of Dumbledore, Albus or – as we learned at the end of the previous film – Aurelius (AKA Credence Barebone, AKA Ezra Miller), or even Aberforth (Richard Coyle), but they at least allow for a brief, singular arc for this film to unfold, particularly in the later stages where some of the best content lies, because of the feeling of flow that’s introduced. Otherwise, it is the titular beasts that somewhat steal the show. They offer brief moments of silliness – particularly an extended moment involving mimicking, scorpion-like creatures – that stick out from the sometimes lacklustre drama that the rest of the piece attempts to conjure.

There’s a mixed bag within The Secrets Of Dumbledore. Three films in to this series and there still feels like little overall development, but at least within this particular outing there’s something of a slight arc, particularly coming into effect in the engaging flow and movement of the third act. It perhaps comes down to the more present dialogue that puts into effect the unfolding set of situations, and the Grindelwald-based one that’s most core to the film, or at least seems to be. It may still suffer from the slowness and tangents of the previous two films, but at least there’s still something relatively serviceable and watchable before the more entertaining bursts and strand leading up to this latest non-bookending.

Certainly displaying more of an individual arc than before, Fantastic Beasts: The Secrets Of Dumbledore still has the extended tangents that have lengthened this series so far, but is slightly lifted by the more dialogue-led nature which helps form the effectively engaging flow of the third act after another slightly middling outing.

Cert – PG, Run-time – 2 hours 2 minutes, Director – Jeff Fowler

When Dr. Robotnik (Jim Carrey) returns to Earth, with newfound ally Knuckles (Idris Elba), Sonic (Ben Schwartz) must learn to team-up with fan Tails (Colleen O’Shaughnessey) to defeat the pair before his powers are stolen.

Back in the early stages of 2020 I gave the then recently-released Sonic The Hedgehog one star. Since then I’ve thought back to this review and consistently thought that I was too harsh on the film, at least in terms of the star rating. Having revisited it the night before watching the sequel I believe that while I’m not on board with the film it’s certainly not a one star affair. However, whilst watching Sonic The Hedgehog 2 there were times when my mind began to wonder whether I was right the first time around. Perhaps there was an unconscious cynical layer within that line of thought that simply wanted to have been ‘right’ instead of accepting a changing opinion or viewpoint. Yet, as the film progressed while, for me, it contained many of the same flaws as the first it eventually feels like something of an improvement.

We re-meet Sonic (Ben Schwartz) living a calm life in the small town of Green Hills, having settled in with police officer Tom (James Marsden) and wife Maddie (Tika Sumpter). However, when Dr. “Eggman” Robotnik “Jim Carrey) returns from the distant reaches of The Mushroom Planet, with super-punch echidna ally Knuckles (Idris Elba – who appears to frequently switch between British and American accents mid-sentence), the titular hedgehog finally has an, albeit seemingly impossible, way to prove himself as the hero he wants to be. Teaming up with fan Tails (Colleen O’Shaughnessey), who has been observing Sonic’s actions from some time, the pair need to find the all-power-giving Master Emerald before their rivals do, both wanting to destroy Sonic and, in the case of Robotnik, take his power.

It’s through this line that we begin to get three different strands running through the film, also viewing Tom and Maddie in Hawaii at the wedding of her sister (Natasha Rothwell) – still not a fan of Tom. With so much going on the film feels slight busy, yet it’s perhaps testament that the lengthy looking – at least for a film like this – two hour run-time isn’t really felt. The gags as a whole may not take off, many relying on having seen the first film or simply coming across as quite laboured and predictable, but the more the film goes on the less trying it becomes. Yes, the fact that characters narrate pretty much everything that is happening or has happened instead of allowing the film to just show events and have the audience simply understand from that is still present (alongside Sonic occasionally coming across as a non-fourth-wall-breaking, child-friendly Deadpool figure – the words “if I die don’t look in my closet” don’t quite feel right coming from him). Yes, there are some slightly outdated instances – Jim Carrey’s Eggman flosses, Carrey, the highlight of the first film, doesn’t quite seem as manic here and gives a slightly hammier performance. Yes, there’s a slightly odd dance battle set to Uptown Funk, after some pretty cool Russian dancing. But, as such elements die down in the build-up to the third act there’s a better flow to the film as a whole that’s easier to get on with.

During more action-based sequences where dialogue feels less key to what’s unfolding on screen, and not everything is pointed out, the film properly begins to feel as if it’s coming off the ground and picking up pace. Again, the third act contains some of the best stuff in the film, but unfortunately the big final battle comes into play a bit too late to properly turn things around. But, it does mean that the film as a whole does leave off on a good(ish), if slightly obvious, note, and perhaps creates some hope for the inevitable third film. Generally, while still somewhat flawed throughout, some of the issues with Sonic The Hedgehog 2 are shed throughout to create a slightly more even, less trying piece of work that while certainly not great appears to gradually find its strengths and footing in its more planned-through sequences.

An improvement on the first film, but still not great, Sonic The Hedgehog 2 has many of the same flaws that occasionally make for slightly tedious exchanges. However, when focusing on action, particularly in the third act, the flaws begin to shed to create something gradually more bearable, and even engaging.

Cert – 12, Run-time – 1 hour 37 minutes, Director – Richard Linklater

After building the shuttle for the Apollo 11 mission too small NASA decides to embark on a secret mission with the same aims with a child (Milo Coy) going to the moon instead.

“It was easy to be swept up in the thought of the future” reminisces the older voice of central figure Stan (Jack Black) as he looks back on his childhood, specifically the summer of 1969, as NASA was preparing to send man to the moon. It also appears to be easy to be swept up in the thought of the past thanks to the highly nostalgic nature of Richard Linklater’s latest rotoscope feature. Placing you directly into the childhood of the late 60s thanks to the warm, nostalgic tones of Black’s narration lining pretty much the entire run-time of the piece. There’s a solid 40 minutes+ where he looks back at his childhood and the various different things that made it up, from music to film to simple games involving firing fireworks at people using bin lids as shields. It very much creates a feeling of a film of two halves – perhaps two similar short films – one a piece of nostalgic childhood flashback, the other a tale of the space race (mostly).

Early on we see Stan (Milo Coy) taken in by two NASA agents (Glen Powell, Zachary Levi) after particular skills are noticed within him. They explain that the Apollo 11 shuttle has been built too small and so they want to send a child on a secret pre-11 mission to see how it will pan out. However, we see little of this actual mission. Instead, Linklater pairs it up with rotoscoped footage of the actual Apollo 11 venture, with Stan watching alongside his family, flashing back to his own space venture every now and then. It slightly contrasts within the wonderment that’s created in the opening stages when the undiscovered expanses of space, and the moon, are discussed, the other-worldly feel pushed by the animation style, by the older Stan as he recounts tales of being “the last of the ‘duck and cover’ generation”.

As the narration continues in the childhood recount the overall style does begin to lose something. As we get lists of TV shows and music at the time it simply feels like more of a delve into what life was like rather than a direct narrative film. Rather, it feels like something more suited to a documentary than a film of this kind. Even when returning to the child in space themes for the second half there’s still a largely narration-led structure to the piece that while not overly removing you from it does begin to feel like the personal nostalgia of writer-director Linklater rather than the something shared with the viewer as in the opening portion and beginning of the late-60s throwback, even for those born nowhere near/ well after the era. It’s a style and format which would perhaps work well in the space of a short film, or, again, more direct documentary.

Yet, you still manage to get caught up in some of the feelings the film conjures up. There are nerves and a rush as you watch the landing recreated in the animation format, the family crowded round the TV to watch it. A sense of interest is conjured up when briefly looking at those who were against the idea of the moon landing for financial reasons, with a number of black people living hungry and in poverty – linking well to ideas brought up in last year’s Summer Of Soul. While you wish that the film had dealt more with perhaps the most creative and futuristic/ fantastical element in the form of the kid-in-space narrative there’s still enough to conjure up interest within the unfolding events and reminiscences that Apollo 10 1/2 has to look back on. Not all of it may be felt by the viewer, but there’s certainly enough to keep you in place in this authentic space-age throwback. Using the animation to simply push such feelings further and wrap you in the mind of those who saw it all happen (and in terms of the secret mission not happen) at the time.

Using the animation to push the futuristic space-age wonderment there’s a fine sense of nostalgia conjured up within Apollo 10 1/2. While it might dampen into personal nostalgia as the piece goes on there’s still enough present within the memories on display to keep you engaged and interested.

Cert – 15, Run-time – 2 hours 6 minutes, Director – Judd Apatow

The cast and crew of Cliff Beasts 6 experience rising tensions amidst an extensive pandemic-shoot, especially when bubbling together in a hotel.

It feels like Judd Apatow’s The Bubble was one of the first films to be announced in response to the pandemic and yet it feels like it’s taken quite a while to finally arrive and drop on Netflix. Perhaps something which slightly matches one of the biggest feelings that the film itself creates, a point echoed from a number of Apatow films, that at just over two hours it’s that bit too long. There’s no denying the amount of famous faces and cameos, and awkward TikTok dance sequences, that are crammed into that 126 minute space, however after a while it begins to feel like the film is simply involving such figures for the sake of it instead of giving them something funny to actually do. A frustrated cry of “I don’t like movies, they’re too long” can somewhat be felt part way through – well, the latter part can – as the various running gags begin to show weary legs.

Aside from the famous faces that pop up throughout for the most part we follow actress Carol Cobb (Karen Gillan), returning for the sixth instalment of the hit Cliff Beasts franchise – although it’s made to feel like these are becoming direct-to-DVD ventures led by unheard of first-time directors (Fred Armisen) – after having missed out on the fifth to make the controversial Jerusalem Rising. With tensions already lingering in the cast for with this rift the frustrations can only grow higher as they put up with the various restrictions and limitations of filming during a pandemic. Or rather, not filming in a pandemic. With various illnesses and COVID cases striking the set the initial three month span of the shoot continuously extends, forcing the cast and crew into a constant cycle of self-isolation in their cramped luxury hotel rooms.

While we primarily follow Carol throughout the film we still get to see and understand plenty about the various other faces who make up the titular bubble. Mostly because the majority of them only really get the general personality that their running joke provides them with. Most of the cast try to do their best with giving their characters something a bit more, but with each figure being largely defined by a recurring gag it’s a bit difficult to do so. Lead actor Dustin (David Duchovny) finds himself increasingly frustrated with the script which he wants to re-write, while patching things together with on-again off-again partner/ wife Lauren (Leslie Mann). Meanwhile other recurring franchise faces include Sean (Keegan-Michael Key), who has written a book which has started a religion which isn’t a religion but also isn’t a cult, and Dieter (Pedro Pascal – who claims the highlight moment of the film while wielding a flamethrower), needs a fair deal of drink and drugs to get him through the shoot. Add in TikTok star Krystal Kris (Iris Apatow), who doesn’t know that YouTube is still a thing…, and you have a group of not only tired jokes, but people who are going to increasingly get on each other’s nerves, not to mention the hotel employees.

While there are some chuckles here and there they largely appear in the opening half an hour of the film, when there’s still some steam in the tank. Afterwards things prove to be in some form of cycle, going over themselves again and again as the joke is made very clear. These actors are in a luxury hotel and working, but feel trapped despite their surroundings and circumstances. It’s pointed out by the film multiple times, it becomes a recurring point and is screamed and shouted by a number of the cast members. And then it becomes part of the apparent loose narrative, drawing it out that bit more. By the end The Bubble feels more like a bunch of ideas thrown in while filming instead of something formed from a polished script. There seems to have been little for the cast to actually run on – but at least they seem to have had a nice time making the film – meaning there’s little beyond the one-joke nature of many of the figures who pop up throughout. It quickly becomes overlong and bland. Providing little to hook onto and engage with, removing any other potential humour which could be found within and in the end clearly relying on its cast and cameos to do something with the weak and tired material.

Relying on a selection of famous faces to bring something to the one-joke characters there are a few chuckles in the early stages of The Bubble before it all wears thin in the lengthy run-time.

Cert – U, Run-time – 1 hour 40 minutes, Director – Pierre Perifel

Infamous heist gang The Bad Guys (Sam Rockwell, Marc Maron, Awkwafina, Craig Robinson, Anthony Ramos) attempt to go good before stealing the annual Golden Dolphin award for goodness.

Throughout the opening stages of The Bad Guys there are two things which help bring you in to the fast-paced world of the titular gang. The first is the bright animation style, carving out a cartoonish feel to the piece, at times a little bit Looney Tunes, with the other being the rush of entertainment and amusement that comes from the unfolding chaos of the on-screen bank job. Despite being able to just walk in and steal as much as they want – people cowering in fear at the presence of leading figures Wolf (Sam Rockwell) and Snake (Marc Maron) – an extensive police chase forms through the streets of the city chasing after the gradually growing gang members as the true plan comes into effect with each figure’s skills coming into use. Tarantula (Awkwafina) is an expert hacker, Shark (Craig Robinson) a master of disguise and Piranha (Anthony Ramos) a loud mixture of lookout, muscle and nausea-inducing flatulence.

When recently-elected governor Diane Foxington (Zazie Beetz) criticises the group as spineless and in denial they decide to steal the top prize of one of the city’s biggest nights, the Golden Dolphin award for goodness. However, when caught in the act they manage to wind themselves into lessons of goodness award-recipient Professor Marmalade (Richard Ayoade). Attempting to put on a guise of being good their intention is to build up to Marmalade’s big charity event to repair the part of the city destroyed by a heart-shaped meteor before escaping and never being seen again. However, things become slightly more difficult when leader Wolf begins to lean into the good life and the tingly feelings and wagging tails that it provides.

This particular release from Dreamworks Animation certainly feels mostly aimed at kids, particularly with the ways in which it discusses goodness and badness, however there’s still plenty there for the older audiences likely accompanying them. The first half of the film in particularly contains plenty of laughs and chuckles from the cartoonish style and many abrupt gags to enhance the rushing energy of the central group and the various plans and heists they try to pull off. It helps that many of the elements that we see forming the narrative are extended sequences. In fact that film as a whole generally feels made up of extended sequences with various elements playing out for the gang, and one or two figures around them.

While the second half of the piece brings around a slightly more obvious sense of the generic nature of the narrative it still manages to keep you in place and engaged as it pans out. The laughs may die down as the plot becomes more of a focus, but there’s still a strand of amusement and entertainment to be found. It’s provided in the car chases and heist gadgets on display during them, and the heists themselves; not to mention a literal sea of guinea pigs. While each member of the group doesn’t exactly get their moment, and there are clearly those much more prominent than others, there’s still a fair deal of humour from each figure and a distinct enough nature to each one to not make them feel bland or forgotten – helped largely by the voice performances that help bring the characters to life, matching the animation style well. Such elements generally help to keep the film going as its more noticeable basic points arrive. Yet, by the end there’s still been enough consistency in tone, style and energy to keep the film going, and your interest in it engaged. It’s rather pleasant, enjoyable viewing that’s not without its dashes of chaos.

While it might begin to show its somewhat generic narrative in the second half there’s still plenty of laughs and amusement to be had within the delightfully cartoonish energy that The Bad Guys creates.

Cert – 15, Run-time – 1 hour 44 minutes, Director – Daniel Espinosa

Revolutionary doctor Michael Morbius (Jared Leto) begins to experience vampiric abilities and behaviours when attempting to find a cure for his rare blood disease.

As Jared Leto’s Michael Morbius gazes upon the colony of vampire bats circling in flight around the glass enclosure he’s made for them in his lab he says to his recorder “I feel a kinship with these creatures. They would tear anyone else apart, but they welcome me; like a brother”. It’s a somewhat emotionless reading, and yet shows more borderline romantic feelings than any form of horror within this latest adaptation within Sony’s Marvel canon. The reason for the bats being present is that acclaimed Dr. Morbius believes that they can help him cure the rare blood disease which has rendered him in pain and disabled for much of his life. However, when he executes his plan he finds himself gaining vampire abilities and behaviours. And with his revolutionary artificial blood having reducing effect he soon finds himself having to resort to actual human blood.

Yet, with all the vampire possibilities and alleged darkness that the film tries to create there’s little in terms of an actual fear factor throughout. The biggest sense of anything scary being emitted from the film is that from the studio, which feels too scared to actually stray into any effective horror territory – it is still possible with a PG-13 rating, it’s possible with a PG rating! – and to show any proper glimpses of gore, only coming close to teasing it before moving quickly on. The core feeling that the film ends up emitting is something quite drab and toneless. Providing something that simply falters and never manages to grab your attention amongst a generic narrative which feels more suited to a comic book adaptation of 15-20 years ago.

As Leto’s character battles his own growing inner-demon (or rather, vampire) he finds an adversary in former friend Milo (Matt Smith) – who everyone, including the screenwriters, appear to forget is actually called Lucien. As the two begin to feud and scrap with their new abilities, Milo/ Lucien having had the same disease as Michael, we’re shown a blur of lacklustre CGI-infused fight and flight sequences, where the poor CG becomes the main focus for the viewer. Leto is often accused by some of ACTING, however here he’s somewhat restrained from what the perception of his performances can sometimes be. However, in the case of Smith he certainly seems to have been passed at least the Acting baton. Following on from a villainous turn in Last Night In Soho he slightly brings some of that role in here (although the latter was largely filmed after primary filming of Morbius had concluded), however here he brings in hints of a character from Last Of The Summer Wine turning into a panto villain crossed with a 90s Batman villain without the campness. While not exactly terrible it’s not always the most subtle of performances.

While Sony’s previous two Marvel character features (both Venom films) at some point understood their own ridiculousness and managed to create a sense of amusement and entertainment within Morbius never grasps that. Instead it aims for a sense of darkness and drama without ever drawing upon any effective tone and themes. Too afraid to lean into horror it constantly feels hesitant and held back, to the point of feeling like something from another era of comic-book adaptations. There’s never anything in terms of tone and style to grab you and bring you in to the quite drab and unappealing look of the film, particularly when coated in poor CGI. All leading to something which feels as emotionless as the titular character’s alleged kinship with the bats that have provided him with his vampiric powers. Powers which only really feel present for plot necessity.

Dated and toneless, Morbius’ biggest issue is that it feels afraid of itself. Scared to step into proper horror territory the final product simply feels bland and lacking in any proper substance. It needs to do more to be less boring.

Release Date – 1st April 2022, Cert – 15, Run-time – 1 hour 37 minutes, Director – Lauren Hadaway

College freshman Alex (Isabelle Fuhrman) begins to compete with herself when her mental wellbeing and ambition clash as she tries to make it to the top of her college’s rowing club.

Much like central character Alex (Isabelle Fuhrman) we’re thrown into the college rowing club head first. Running in slightly late to the first meeting it’s clear from the start that she’s a slight outsider in this world, although she clearly has the ambition to push herself to succeed within this environment, and an interest in the sport which this club may help to spark further. While initially the lack of information into Alex and her background removes something from the film, it’s hard to form a connection with both it and the central character meaning that the emotional impact of certain moments isn’t entirely felt, as it becomes clear that this is a film about her competing against herself it becomes easier to engage with.

Fuhrman does an excellent job of showing the conflicting and competing nature of her character’s physical and mental state. She’s determined to get ahead and succeed in this club, making it to the top boat for competitions, even while still in her first year of college, however this leads her to push herself further and further, sometimes to a damaging extent. Throw in the fact that she still needs to do well at school and prove herself there and she finds herself rapidly spiralling downwards. Everything around her begins to become a literal blur – everything around her is either unclear or in darkness as she’s the only thing in focus. It’s an effective technique used by feature debut writer-director Lauren Hadaway to show the intensity in just how much Alex is pushing herself to reach the perfect goal and vision she has set for herself.

While the rowing club is certainly the focus of the film and Alex’s frustrations it seems not quite enough to fill the just over 90 minute run-time of the film. Instead the film occasionally looks into other aspects of the central character’s life. A relationship with a young teacher/ TA (Dilone) sticks out a bit until it begins to link more to Alex’s mental state, mostly in the latter stages of the piece, otherwise feeling not completely slotted into the rest of the film. It feels more prominent when the film begins to show slightly more conventional notes within the arc that it shows for the protagonist. While not entirely distracting they once again stick out from the rest of the piece as you’ve begun to connect with it on a more emotional level instead of simply watching it fold out with little response.

Admittedly, the film does climb out of this portion, mostly in the second half as the intensity of Alex’s personal struggle begins to come to more prominence, and perhaps it’s down to Fuhrman’s performance. Brilliantly pushing some of the more conversational scenes within the drama. Again, as you realise this film is largely isolated within her journey within the rowing club and who she becomes because of it there’s an interesting, and occasionally intense (particularly during moments which focus on Alex’s increasing self-harm), piece of work here that engages you and certainly builds up a sense of worry, and at times fear. It’s the core of the film and that’s remembered throughout, even during the scenes and strands which take something of a slight tangent away from this line. Luckily with these not being the biggest focus of the piece, and plenty of time being given to the personal drive and push of the titular novice; desperately trying to move on from that label as soon as she hears it, there’s a mostly consistent build up of emotional engagement with both the film and the central character once you properly realise the central line it’s travelling down.

While it takes a bit to emotionally engage with The Novice once it gets going there’s an intense story of personal confliction and competition. It might have some patches which initially stand out from the rest of the film, but once they join the core arc it builds up to forming a solid drama led by an excellent Isabelle Fuhrman.

Cert – 15, Run-time – 2 hours 16 minutes, Director – Michael Bay

Two brothers (Jake Gyllenhaal, Yahya Abdul-Mateen II) hijack an ambulance, with medic (Eiza González) and shot cop (Jackson White) still inside, when a bank robbery goes wrong, leading to a police chase across LA.

As the camera spins and whirls and rotates and circles around the various scenes, both in and out of the cramped title space of Michael Bay’s latest, there’s much footage within Ambulance which could easily be set to Dead Or Alive’s You Spin Me Round. If that were to be the case then the other half of the film could perhaps be backed by the Peter Gunn Theme and Can’t Turn You Loose. There’s even a true “Hey Jake, I gotta pull over” moment in there as another load of police cars tumble and flip down a slight hill and the central figures once again escape. However, unlike the Blues brothers there’s no opportunity to stop for a quick singalong of the theme to Rawhide, or Stand By Your Man – although there is an oddly placed rendition of Sailing in the middle of what’s supposed to be a tense car chase.

Brothers Danny (Jake Gyllenhaal) and Will (Yahya Abdul-Mateen II) have hijacked an ambulance after a bank robbery has gone very wrong, and most of their fellow thieves have been killed – presumptively, it’s hard to know who’s who and what’s going on during the actually robbery sequence. However, inside the vehicle is ‘get the job done and move on’ medic Cam (Eiza González – who unfortunately gets very little to do as the spotlight often lies on Gyllenhaal and Abdul-Mateen) and the shot cop (Jackson White) she’s tending to before getting to the hospital. Despite the fact that both can help the two men – Will more reluctant about everything that’s happened, only wanting to get money to pay for an operation his wife (Moses Ingram) needs but they can’t afford – in not being killed by the police, at least instantly, they do also limit where they can go, Cam insisting they get to a hospital as soon as possible before her patient dies.

Soon Danny’s early statement of “my city, my rules, my job!” falls apart as the messy parade of cop cars behind them grows; sirens blaring, and the route through the maze of LA becomes increasingly dangerous. It’s a chaotic piece that in true Michael Bay fashion screams “Cool! Lads!”, although with less explosions than you might think. Sometimes it’s difficult to tell what’s going on, with the dizzying nature of the constantly moving camera and the sometimes chaotic editing.

And yet, overtime, as the piece becomes more and more ridiculous there’s a level of enjoyment to be had from it. You may not be truly engaged, but there are certainly some sequences that build up a sense of tension – although who it’s directed towards I couldn’t tell you. Yet, as the film goes on to say that it doesn’t have a number of enjoyable moments which gradually bring you in would be a lie. No matter how many flaws it has, and there are quite a few within the jumble of ideas and senses it hurls at you, there’s still an entertainment factor being emitted from the unfolding events – and perhaps it’s the flaws which create part of this feeling within the endlessly hectic sprawl.

It all leads to a film which has a slightly overlong feeling, pushed by a forced ending of obviousness and bringing back pretty much everything from the last 2 hours+. But, what has come beforehand has certainly been a messy affair, but one that’s partly messy because its ridiculousness and truly off-the-walls nature. A feeling which as it goes on manages to slightly bring you in to the piece to experience some form of amusement and eventual entertainment from what’s happening. You might not always be able to tell what’s happening, but within the sequences you can there’s a level of tension and entertainment which undeniably help bring you in that bit more to the mad, occasionally explosive (this is a Michael Bay film after all, one which screams that fact, although this is of the kind which he doesn’t appear to have made for quite some time) ride.

For both better and worse Ambulance is a chaotic, frenzied rush of ideas and moments which scream Michael Bay. A film of the kind he hasn’t made for quite some time when you’re able to tell what’s going on there are elements of tension and amusement to be found amongst the oddly placed tangents of humour.