Let completely off the chain by Netflix and armed with at least $150 million. Michael Bay’s 6 Underground is essentially the film he’s been promising to deliver ever since the fireworks ended at the close of Bad Boys II.
Bay has spent most of his time lording over one of the most critically reviled yet financially successful film sagas of all-time.
His robot smack-downs set new standards in CGI movie-making. I’ve been longing for his full-blown return as a practical-effects cinematic showman.
6 Underground is basically Bay’s version of a steroidal Mission: Impossible adventure, and caters to the exact things that set his world on fire.
6 Underground Review
He’s now made it abundantly clear that he’s ready to move in new directions.
His latest super-production boasts all of his hallmarks and a few new surprises!
From moment to moment, the movie makes very little sense, with a ridiculous central concept that’s mostly played as a joke, but then wrapped up in pseudo-seriousness from time to time just to try and keep things grounded; it’s a bizarre tonal mix that ultimately doesn’t fully mesh.
Forget context or motivation – the script merely serves as an outlet for insane levels of vehicular and property destruction.
While there is a “plot” involving a dictator who needs to be stopped by some sort of absurdly-formed group of mercenaries who have been recruited by a wise-cracking billionaire.
SH*T BLOWS UP ALL OVER THE PLACE in this movie! With all of it done, as per usual for Bay’s maniacal standards. In photo-real, ultra-saturated, primary color glory which absolutely singes the eyeballs.
This is a two-hour money shot. It must be exhausting being Bay on a daily basis.
The highlights are the opening 20 minutes. Which consists of an elaborate car chase through the narrow and crowded streets of Florence.
A chase that contains ALL of the visual and thematic hallmarks of what constitutes “A Michael Bay Movie.”
Bay also does his impressionistic-Tony-Scott-best during the opening stages of the first car pursuit. Jittery, flickering, extreme-close-ups taking us into some seriously hard-charging action.
As someone who has spent the last 30 years studying the action movie genre and its evolution, I’m fully prepared to admit that I’m a “fan” of Bay’s patented brand of visual mania and extreme intensity.
Overall
6 Underground looks like it cost a billion dollars to produce.
With three-second cutaways that cost more money than the gross national product of some small countries. Bojan Bazelli’s stunning widescreen cinematography is frame-filling and preposterously photogenic.
The stunt work sets some new standards in terms of making it look like numerous people died during the filming.
I had to giggle over how Bay and his technicians were sure to show the viewer what happens to the actual people who are inside those cars when they flip, roll, and drag.
Rarely have I seen this many stunt-doubles and dummy-dolls getting close-ups of being blown thru windshields.
The stunt driving is dangerous-looking and thrilling! With Bay doing his customary blend of rapid-fire editing along with swooping wide-shots that last a long time.
Michael Bay is one to force all of his crew to perform at peak levels of day-time craftsmanship.
6 Underground review by Nick Clement
Summary
Written with easy-grip, double-wide, extra-thick crayons by Paul Wernick and Rhett Reese, the narrative operates in the implausible comic-book territory, with absolutely nothing that occurs making any rational sense. But it’s SO much fun!!
