2.5/10 In honor of director Michael Bay’s latest explosive extravaganza, “Ambulance”, I thought I’d take a look at his most recent effort, 2019’s “6 Underground”. Meant to be a franchise starter, this movie failed to make a big enough impact with Netflix, made all the more painful when considering that this was the most expensive original Netflix film ever back when it was greenlit with a budget of $150 million. (Three years later, it is the 4th most expensive Netflix original film). With a big budget, globetrotting adventure, a director who at least knows how to handle action well and two solid screenwriters, I thought this would be a fun movie to watch. Unfortunately, screenwriters Paul Wernick and Rhett Reese, who wrote two great “Zombieland” films and two great “Deadpool” films, provide their weakest, most forgettable script to date (with maybe the exception of “G.I. Joe: Retaliation”). The humor completely falls flat and every character is given one personality trait and no other character development. The pop culture references are dated, repetitive and not funny in the slightest. We get about three different “Leave it to Beaver” references for that vital 75+ aged demographic that Netflix was really appealing to. So much of the plot is frankly dumb. Ryan Reynolds plays One, who is a billionaire but no one knows who he is and can’t figure out his identity. Just because not every billionaire has the name recognition of an Elon Musk, Jeff Bezos or Bill Gates, doesn’t mean they can easily hide their identity. Billionaires generally create/run some of the most profitable companies in the world so there is no way any billionaire is flying under the radar without an easy Google search. Small budgets often make film makers have to get creative with how they practically pull off certain scenes or stunts (look at what Ridley Scott accomplished with the original “Alien” or Alex Garland with “Ex Machina”). Yet when film makers are given an unlimited budget and too much creative freedom, their worst impulses often come out. Here, Bay gives us the worst soundtrack of his career. I wonder how much of the movie’s budget went to securing the rights to these horrendous songs. This could have been a silent film and it would have been more enjoyable. The editing was way too choppy and fast paced, making some of the action difficult to even see. There was also an obscene amount of cringe worthy product placement with everything from Redbull to Heineken to most shamelessly, Reynolds’ own alcohol, Aviation Gin. There are only a few aspects that I can give this movie credit for. The Bayhem that unfolds is pretty spectacular to see in certain scenes. We get some exciting car chases and the climax of the movie involving some magnetic action was inventive, impressive and original. Bay certainly knows how to make a movie at least look good with solid visual effects, an attractive cast and slick cinematography. The action is well done and I’m glad Bay embraced the R rating by not shying away from the violence. Despite the few strengths, I can honestly say that I’m glad that this wasn’t successful enough to kick off a multiple film franchise, especially considering the last big film franchise that Bay was associated with (coughTransformerscough).

#TheOne / #TwoForTheMoney / #TheThreeStooges / #IAmNumberFour / #SlaughterhouseFive / #TheRidiculousSix

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