In his new movie “Ambulance,” Michael Bay “sacrifices his modicum of directorial originality in order to whip up a frenzy of mechanized excitement with a story that could have been generated by Automatext,” tnyfrontrow writes.
, a computerized control of his camera: “We push this button on the computer and we get given six or eight randomized set-ups—a little tilt, or a movement, or if you should zoom in.” So it is with “Ambulance,” in which Bay sacrifices his modicum of directorial originality in order to whip up a frenzy of mechanized excitement with a story that could have been generated by Automatext.
The bulk of the film—and bulk it is—is tactical: Will and Danny take daring, evasive measures; Cam’s formidable medical skills are pressed by Zach’s deteriorating condition; law enforcement, its command split between the crusty Captain Monroe and the starchy, young F.B.I. agent Anson Clark , tracks the robbers and tries to trap them.
The handful-of-confetti approach to cinematic composition matches the skittering script in almost entirely lacking a point of view. The few moments that provide one—overhead surveillance images of the ambulance that show only what the pilots see—do evoke, a few seconds at a time, method and thought.
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