Zach's Zany Movie Reviews: THE AERONAUTS (Amazon Prime)

Boring. Meh. A couple of tense moments that would’ve been fantastic in a half hour short film. Historically inaccurate, but may have been helped by that more than hurt. Good acting from two stars that are known for their good acting. All of that describes THE AERONAUTS, which was an original Amazon Prime film that was just released this past weekend. To quote my wife (she felt the same way I did about this movie), “this is such a niche film, probably why it went direct to streaming and not into theaters.” 100% agree with her. If this film was released in theaters, it would’ve bombed, badly. And it also probably would’ve been more controversial in the main stream media. While I’ve seem some advertising, this film seemed very quietly just released to get rid of. And it shows, other than a couple of cool special effects hot air balloon life threatening moments, this movie is a snooze fest. Probably would’ve made a decent historically accurate 25-30 minute short film. Feature length, all of it is very ho hum indeed.

Since I’m lazy as fuck right now and still several reviews behind to bring to you all, I’m going to just borrow from IMDB.com and Wikipedia.com and give them credit: The Aeronauts is about “a pilot, Amelia Rennes (Felicity Jones), and scientist James Glaisher (Eddie Redmayne), find themselves in an epic fight for survival while attempting to make discoveries in a gas balloon.” It is based on the “Richard Holmes book ‘Falling Upwards: How We Took To The Air.” Although 1/2 of the film is very historically inaccurate, and I have a feeling some of the death defying gravity shit probably was more embellished for theatrical reasons. Why is the movie so historically inaccurate you might ask? Felicity Jones’s character doesn’t even exist. Completely fictional for this movie. It was two males that made that trip, James Glaisher really being one of them, but then another by the name of Henry Coxwell, who is nowhere to be found in the movie, or even fucking mentioned. Poor guy. Anyway, that’s the controversy that surrounds this film, as when doing some research they figured that SJW’s would be pissed off it was a film just based around two males, so the filmmakers really went out of history’s way to make a compromise, but then toxic masculinity is review dumping this film because of the woman addiction making the whole thing extremely fictional.

Me? And my wife? We personally didn’t give a shit. In fact, we thought that the exclusion of the other male character and the addition of a female perspective, combined with Felicity Jones’ excellent acting, actually probably made the film more interesting and saved it from being completely unwatchable. They give her a proper backstory and motivations, and the film worked better narrative wise with all that was added in. Trust me, if a movie was really made around those two males exploits, it would’ve been boring and might as well have been made into an hour National Geographic documentary that no one but hard core fans of that program or meteorologists would’ve watched. Anyway, that’s my take, controversy be damned. But in the end, it didn’t really matter, as my wife and I thought the film was very boring, save for the couple of tense death defying sequences (again, probably beefed up fictionally) the characters had to go through to break the 23,000 feet in the air barrier, but also while escaping with their lives. We both cared about the characters just enough to make it through the movie without turning it off. If that makes any sense to you.

Why did Eddie Redmayne and Felicity Jones do this picture? Probably a paycheck, but they bring their acting chops into the foray enough to earn it. And the pitch was probably easy, “look, for half the movie, it’s just you and the other person in a basket wired in the air in a studio surrounded by a giant green screen. The rest of the film is just in one or two locations, also shot in this studio, you should be out of here in no time!” Fuck, I’d take an acting job like that. Needless to say, this movie was completely unnecessary. It could’ve been a fantastic short film that could’ve maybe been up for a best short live action film or best documentary or best documentary short subject. We didn’t need this fictionalized boring bantha poo doo. The only people that are going to get into this film, are people really obsessed with hot air balloons enough that they jerk off to the thought of them, or meteorologists. And then even then they’ll have to be able to swallow major historical inaccuracies. For those wanting to watch another good Eddie Redmayne and Felicity Jones picture, I would suggest just putting in and watching The Theory of Everything again, a far superior film. My theory is that Amazon probably won’t gamble on a project like this again. I have a feeling viewing numbers on this film won’t get even close to sky high.

Zach's Zany Movie Reviews: THE TWO POPES (Netflix)

If you don’t know what THE TWO POPES is, I don’t blame ya. If you do know what this movie is and what it is about, my guess is that you are either extremely religious or knew about the shake up of Popes at the Vatican back in 2013 (me? no fuckin’ clue). In Layman’s Terms for everyone to understand: it is pure Oscar bait, specifically for Best Picture and a Best Actor nod for co-star Jonathan Pryce. For me, the movie is a one and done. I watch it once, I think it is decent, but will never have any desire to watch it again. Not because it isn’t a good film or is boring or that I’m not at all religious or anything. I just got all out of it that I could in this one viewing and don’t think another would benefit me down the line. The main reason to watch this is not for Anthony Hopkins performance, but for Jonathan Pryce, a more background character film actor, who was that main religious honcho on Game of Thrones a couple of seasons ago…I know him more as the Bond villain from Tomorrow Never Dies and the guy that played Glenn Close’s husband in last year’s The Wife. It is a pure performance film, as the way it is shot at times can make you woozy, as there was way too much shaky cam. Come for the performances, stay for them and the story, and try and tolerate the messy camera work.

The whole film is conversations between Pope Benedict XVI and Cardinal Jorge Mario Bergoglio, where Bergoglio is going to see Benedict to ask for a early retirement, and Benedict wants to tell Bergoglio something he is about to do that could shake up the whole foundation of the Church. The two express their different ways of looking at service to God and his people but in their talks with each other they are able to put aside their differences and warm up to each others beliefs. Then, several times throughout the conversations, we get flashbacks of Bergoglio’s earlier years and the guilt he has over not doing enough to prevent the deaths of close ones during the time known as the “Dirty War” and the rest of his time as a collaborator with the Argentine military dictatorship and the consequences some of his inaction caused. Anthony Hopkins is basically just Anthony Hopkins in this. All of his mannerisms are there, as he’s just going through the motions collecting his paycheck. His best phoned in performance since Transformers The Last Knight. But Jonathan Pryce is the performance to watch. He’s incredible here, his emotions showing deeper meaning to everything his character has to say.

It’s just two hours of conversations, a couple of laughs, and two people with differences that are able to set them aside and get along. With a couple of flashbacks to explain why one of them wants to retire early, and news reports of why the other one is a controversial figure at that moment. I think the more religious **coughCatholicspecificallycough** you are the more you will get out of this film. The only thing that confuses me is the amount of shaky cam that is in the film. It is unneeded, as the cinematography is bright and clear enough to give off the giant majesty of the Vatican, Italy, and the other cities of Rome. It’s like director Fernando Meirelles wanted to add something so it wouldn’t just be a complete “point and shoot” affair. I just don’t see how he didn’t just his cinematographer to make the movie rise above that mediocrity. The shaky came brought it back to mediocrity. Anyway, if you are a Oscar hound like I am, this is required viewing, and if you are Catholic and really religious, you might want to check this out and will definitely get more out of it than I did. Half way decent one time watch is all it is, and it wouldn’t bother me at all of Pryce won Best Actor in February.

Zach's Zany Movie Reviews: CATS (2019) – A Purrfect Poem

CATS is the worst film of the year, was there really any doubt?

Horrifying CGI human felines, the filmmakers should’ve bowed out,

As nothing else in this film works, not a good performance, song or note hit,

How could Universal not think this film was going to be a giant piece of dog shit?

Oh God, my eyes, my ears, my jellicle butthole,

Was a trip to the Oscars really director Tom Hooper’s goal?

That motherfucker already has an Oscar over Inception,

The overrated King’s Speech gave the Academy voters an unwelcome erection,

After this disaster I wouldn’t be surprised if they took his award back,

With his guidance, nobody should’ve cut him any slack,

As the camera can’t even capture the choreography correctly,

The frame too close, too far away, or too off center, all abjectly,

This fur CGI technology was the one thing truly revolting,

It was like watching a video game with serious lagging, truly jolting,

Jarringly bad, it took me completely out of the movie,

And it never recovered, my jaw permanently dropped, feeling quite woozy,

The film is about a bunch of joyless pussies wanting a new life,

So they hold a jellicle ball competition, the cats trying to sing with strife,

Judi Dench is the decider, that holds everyone’s fate,

And Idria Elbis kidnaps the ones in his way, using them as bait,

But who really cares, as the end result is kind of dark,

The chosen cat being sent to a “Heaviside Layer”, aka a death check mark,

That’s what I took it to mean anyway, the whole play is kind of fucked up weird,

Didn’t understand it at all, have no intention to do research or have my mind cleared,

Ian McKellen acting as a cat is the most disturbing thing I’ve seen in Twenty Nineteen,

He licks out of a bowl, hisses, and gives himself a cat bath to make his fur clean,

I’ve seen some fucked up shit this year, but nothing as boring or asinine as this,

Those looking for some Taylor Swift solace, she’s only in it 5 minutes, so dismiss,

None of the songs are interesting or fun, no one comes out of this as the next new star,

In fact, Rebel Wilson and James Corden’s characters seem like the new Jar Jar,

Just like the play’s most famous song, I hope my memories of this cease to exist,

This made me not want to check out the Broadway play, I walked out quite pissed,

My final word: like a tick on your pet, it’ll make you sick,

Cats Twenty Nineteen can suck my….

Zach's Zany Movies Reviews: TOGO (Disney +)(spoilers if you've seen Balto)

When first watching TOGO, the new original movie on Disney +, 30 minutes in, I was like, “what the fuck this is just a rip off of Balto.” And that’s because I didn’t watch one trailer for this film, or research it at all, just heard that it was Disney +’s next original movie that happened to star a great actor, Willem Dafoe, so I just hit play. Turns out, Balto is just the dog that gets way too much credit for 1925 serum run, where diphtheria antitoxin was transported to Achorage, Alaska to very sick children during a giant fucking storm. Togo, at 12 years old, is the one that ran the most miles like a motherfucker to save all those innocents. The owner just didn’t really care much about credit, he cared about the dog’s well being. As for the film itself, it’s not bad, it’s just a more dramatic, no animation at all live action version of….well, Balto. But since Balto was originally distributed by Universal Pictures, you can’t point the finger at Disney this time and say this was simply a mere live-action remake cash grab. There is a more deeper point to this film than just the main dog getting the serum to the sick children. This is a personal story of owner and dog.

And it’s a good story, because we learn that Togo wasn’t always obedient, and the owner didn’t think much of him at first. The film switches from present day (starting with the news of a storm coming and the sick children to going out to save them in the storm), to 12 years earlier, when Togo was a pup. Eventually owner and Togo share more positive experiences with each other and he learned to respect and love the dog. What I appreciated most about this film, is that the film used REAL DOGS, REAL LOCATIONS that did REAL STUNTS/MOVEMENT, and everything about it felt authentic, even when the film obviously switches gears having to use a green screen CGI studio to film the parts with the real dogs running across a frozen lake, with the ice breaking apart and melting. They could’ve went full CGI with the dogs too, but they didn’t, somehow it completely comes together and works. Thankfully the movie doesn’t just focus on just getting the serum to the children, because we saw that with Balto, this focuses on the relationship between Togo, the owner and his wife, and it is quite moving.

Especially because it used a real dog. I keep going on about the real dog thing but have you seen the trailer for the new The Call Of The Wild film with Harrison Ford? Looks awful because it is a completely CGI rendered dog, not even a real dog with a CGI face that they used in the new live action Lady in the Tramp. It looks terrible. Are you meaning to tell me they couldn’t have gotten a real dog to do scenes with Harrison Ford? They got real dogs for the entirety of this thing and managed to not piss off PETA. Whatever, I’m not seeing that horrific CGI ridden trash. I learned my lesson from the new Cats (2019) film (review on that later. Anyway, you can’t go wrong with Togo on Disney +. It’s a pretty solid movie with a solid performance by Willem Dafoe but an even more solid performance by the dogs that played Togo. My only complaint would be, and I checked on my phone to make sure it wasn’t just my television, but a weird sheen to the film with this semi dark like substance on the all sides of the wide screen bar. I don’t know what that was about but it was a tad distracting. Let me know if you see it to. All I have left to say is well done Disney, you managed to sort of make a live action remake without it really being a live action remake. Do that and stop with this Aladdin, Lion King, and Dumbo nonsense. You’ve still got a little magic that can get to people’s hearts, and Togo is that proof.

Zach's Zany Movie Reviews: 1917 (no spoilers, opens wide January 10th)

Well, well, well, nice to know I got one of the big Oscar hopefuls out of the way and got to see it even before the Golden Globes premiered. Thank you to Cinemark Movie Rewards for the free advance tickets. Needless to say 1917 is a triumph. It’s not just another war film, this one is special because the whole movie is designed to look like one (really two though) continuous takes. Some will say it is just a gimmick. A gimmick is only a gimmick when it doesn’t work, IMO. This absolutely works. The continuous take isn’t just a technical marvel, but it brings passion, tension, and stakes to the plot, acting somewhat as a ticking time bomb for our characters and their mission (sort of what the musical score did for Dunkirk). It isn’t a perfect movie, there are a couple of slower than usual parts, as a lot of the movie is characters walking from point A to point B and telling something about themselves (a la Lord of the Rings). But it is one that will have a lot of people like me talking, especially when it steals every single technical award it is nominated for. If 1917 doesn’t win the Oscar for Best Cinematography for Roger Deakins (who has been nominated countless times and finally one a few years ago with Blade Runner 2049), something is seriously wrong with the Academy.

I suspect a direction nomination should at least be in the cards for Sam Mendes (Skyfall), because what is on the screen is absolutely phenomenal. For me, there will have to be multiple viewings of this as there is just so much going on. It is almost impossible to study the flow of the fantastic steady camera work, to what is going on in the background, and what is lurking behind the shadows. It is just a fantastic piece of technical work. The only hindrance from this being a masterpiece is that the story is a little too straight forward, yes, some twist and turns and a shit ton of obstacles stand in the way, but it is just a “get from point a to point b” in a certain amount of time kind of affair or a shit ton of lives will be lost (on repeat viewings it could get to masterpiece for me however). Two British soldiers are given what seems like an impossible task to deliver a message which will warn of an ambush during one of the skirmishes soon after the German retreat. That the group there is basically running into a trap when they think that the German’s are really on the run. These two soldiers are on there own, into the unknown, going into enemy lines, avoid traps, pitfalls and unseen enemies in the shadows, just to save over 1,600 men, one of them being the brother of one of the two soldiers.

You’ve heard of the movie being just one continuous take, but it really is two, and you’ll blatantly see why without me having to go into spoilers. But the two takes are phenomenally fantastic. Yes, I could tell with some of the editing where exactly they pieced together scenes to make it look like one continuous take (i.e. going into the dark for a quick second or a soldiers backpack taking up the entire frame) but if you don’t look as closely as I do, it is all perfectly seamless. And the acting is pretty solid too. You have two unknowns at the forefront, doing their best acting when their lives are very much at the forefront of danger. And then you have several celebrity cameos spread throughout to stitch the whole thing together. Everybody does a great job. And I was on edge almost the entire time in my seat. The movie also did well at subverting expectations somewhat with the two soldiers on the mission. I won’t say much, but shit goes down I didn’t expect to go down and so soon. The 2 hr film is just one big panic attack giant obstacle course. In the end, it will go down as one of the best technical achievements not only of this decade but of all time. It is some of the best camera work every put to film. Like I said above, taking it all in on just one viewing will not be enough.

1917 will be required Oscar viewing, and I think the buzz is only going to kick up more once this film is released everywhere January 10th (December 25th to New York & L.A.). I think they are pretty confident with this film with these advance screenings to get the word of mouth moving before the New Year hits, I think that is very, very smart. While being Rated R for language and some war violence, I do think this is a film that older families should go together to get the most out of this breathtaking experience. Almost forgot to mention, the most breathtaking visuals are not during the day, but at night, when one of the characters wakes up, and looks out a window, while flares are fired up into the air. Absolutely fucking beautiful. I could watch that scene a billion times. Also, seeing it on the largest screen and with the best sound possible. I think it is even IMAX worthy. My theater, Legacy in Plano, the screen wasn’t the biggest, and the sound wasn’t the best, but it was the only advance showing that I knew of at the time, and wanted to get a check mark on my Oscar list earlier than I thought I would. If I see it again, in a better theater, I think I might rank it higher on my list at the end of the year, we’ll see. Ultimately, I think 1917 will go down as the most talked about war film since Saving Private Ryan. And it’s all deserved.

Zach's Zany Movie Reviews: RICHARD JEWELL

RICHARD JEWELL is Clint Eastwood’s very best film in a long, long time. I’m talking either Million Dollar Baby or Gran Tarino long. All of this makes me feel that even though he filmed this quickly to get it out by Oscar season, he might’ve cared a little bit more about the material. Now my review isn’t going to get into either of the controversies about how true this film based on a ‘true’ story actually is and the one-sided argument of how fucked up the news media and law enforcement treated this individual and how asinine their investigation was…even though I do really think that they both fucked up royally here. I’m here to talk about the movie. The acting, the direction, the pacing, the story. All of it quite solid, especially Sam Rockwell and Paul Walter Hauser. I took this movie as just a very good cautionary tale on what happens when the upmost care doesn’t get done in investigating an individual of a serious crime.

The movie is about the 1996 bombing of Centennial park during the Olympic Games in Atlanta. A security officer, named Richard Jewell, found a suspicious looking package/backpack under some bench, called it in, and got people to move back enough that even though it went off and did cause some casualties/damage, it wasn’t as bad if he hadn’t discovered it at all. Due to some of Jewell’s past history in trying to get into the law enforcement game and at times trying to take his aspirations a little too seriously, the FBI immediately looks at him as the prime suspect, the information gets leaked to a feisty reporter looking to advance her career, and everything basically goes to hell for the man. The movie right off the bat shows there was in no way Richard Jewell was even remotely responsible or had anything to do with the bombing. None of the timing made sense, and even though the FBI knew that, they still persisted thinking he was their guy, even though nothing else added up either. It takes a toll on not only Jewell, but his mother, who he lives with, as she at first thinks her son is a hero, only to be worried almost to death that her son will be put to death for a crime he did not commit.

The direction from Eastwood and the performances make the movie. If Eastwood got most of this movie in only one or two takes like he normally does, he must’ve had some luck on his side, because the movie’s pacing and editing is quite perfect (compare it to the oddity of his worst film IMO, that 15:17 to Paris film). He has always been an actor’s director, and with Richard Jewell, he just keeps nailing that nail that has already been in the solid ground for quite some time. Sam Rockwell does what he does best, and shows again whey he deserved that Oscar he received for Three Billboards he received a couple of years ago. He plays Richard Jewell’s lawyer, who comes out of it also being a really close friend. He’s amazing. Nasty needs to be, but compassionate at the same time. If this year wasn’t already chocked full of great performances, he’s be nominated for an Oscar soon. The truly extraordinary performance though is from Paul Walter Hauser as Richard Jewell. I had heard some things about his performance going into it, and about 30 minutes in, I didn’t really know what everyone was raving about. But about 5 minutes after that, wow. What might just get him a nomination is a scene where Rockwell’s character asks him if he’s mad, and Hauser just blows up and screams, “of course he is” and from then on his performances reaches levels I didn’t think it would go to at the beginning of the film. If you need only one reason to see this movie, it is his performance alone. He isn’t entirely new to Hollywood, you might know him more for being a comedian and bit roles in Late Night and BlackkKlansman.

Kathy Bates is also getting Oscar talk, playing Jewell’s mother, and other than one scene where she is behind a microphone, talking to the world defending her son, I honestly don’t see the fuss. Kathy Bates has always been a great actress, but I just don’t see her deserving of a nomination here. She plays a worried mother well, but I’ve seen it all before. She already has her Oscar, time to look for someone new. But yes, this movie is a roller coaster ride, at points you think that Richard Jewell has no way out, and that fate is certainly stacked against him, but then he and his lawyer start fighting back, and there is nothing to do but to hope and cheer for him to get on the right side of things. It very much acts like a procedural episode on any sort of law enforcement television show, but with amped up acting and direction. The 2 hr and 10 minute run time flew by, and at one point I was worried everything was happening too quickly. But rest assured, it didn’t, and I’m glad to see that a Clint Eastwood film finally has some merit again for deserved Oscar talk. It was a very interesting study on not just character, but on the media and justice system as a whole.

Zach's Zany Movie Reviews: 6 UNDERGROUND (Netflix, no spoilers)

Director Michael Bay’s filmography is both a blessing and also a bit frustrating. In the 90s he gave us some of the best action films ever made, such as Bad Boys, The Rock (easily his best film), and Armageddon. And then Pearl Harbor happened. Not sure why they thought combining Bay and basically almost ripping off the success of Titanic would actually work. But then we returned to form with a sequel to Bad Boys and the very underrated The Island. And then…Transformers happened…and kept happening…and kept happening…with Pain & Gain and 13 Hours…two okayish films, snuck in there during brief breaks from robots in disguise…and yeah, things turned to shit quickly. Other than the first Transformers (I guess) and a couple of cool shots in Dark of the Moon…the Transformers series felt like Michael Bay on autopilot. He knew the script was shit, but he did his job…but maybe his heart wasn’t in it anymore. But now that they kicked his ass to the curb and he didn’t do Bumblebee (thank the fuck Christ, I know people love it, I thought it was shit), we get the new 6 UNDERGROUND, his first film for Netflix. And despite it not clicking with critics, it clicked with me. It is easily his best film since Bad Boys II and The Island, and it seemed like Bay was actually having fun again with his so-called “Bayhem.”

And while the editing is EXTREMELY jarring, I still kind of loved this film. Bay is back with another R rated actioner, and he wears that R rating on his sleeve, with some of the most insane brutal kills with tons of guts and gore that it somehow out does the carnage from Bad Boys II. And Ryan Reynolds is the main lead in this and he is…well…Ryan Reynolds at his finest. Basically a more serious non costumed Deadpool. Cracking one liners but with a little more focus on taking out dictators obsessed with genocide. The story, actually written by the guys that wrote both Deadpools, is about a billionaire (a non famous, not in the limelight one…how is that even possible?) who gets fed up with dictator assholes one day as he is almost killed doing charity work, trying to bring food and supplies to poor parts of the country but then almost right after he arrives his location gets bombed and gassed to high hell. He gets so fed up, that he fakes his death, and then recruits other people with special skills (ex-CIA, parkour thieves, expert drivers), fakes their deaths too, so they can join his underground “ghost” team and help take down terrorists and dictators that the U.S. Government wouldn’t touch politically with a ten foot pole. This film tells of their mission to take down the dictator that bombed the site he was at while he was still “alive,” and put that dictator’s brother in charge of the country, who completely disproves of what his leader brother is doing, and actually wants their country to be like the U.S., a democracy.

6 Underground stands for 6 members of a team, which include Ryan Reynolds. The rest of the team is filled up by the great Melanie Laurent, Manuel Garcia-Rulfo, Ben Hardy, Adria Arjona, and a new recruit (gotta have that in the story for character introduction purposes), played by Corey Hawkins. They don’t know each others names, and only acknowledge each other by their number, 1 2 3 4 5 6. It is so that there are no attachments, nothing to make each other feel like a family. If you can’t make it to rendevoux point, you get left behind. The film switches from their current mission to little zany mini origins of all 6 members, which fills out the 2 hr 8 minute run time and keeps the pace flowing and the fun never stopping. Everybody gets several moments to shine, but the main focus is kept on Reynolds, followed by Corey Hawkins and then Melanie Laurent. Everybody is great here, but I felt like Adria Arjona got the short end of the stick. She’s good in this too, but I would’ve liked to see a little bit more character development from her as I feel like when the end credits hit I didn’t know much at all about her character like I did the others. She’s a good actress, memorable probably from Narcos and The Belko Experiment, so it puzzles me why she’s not featured in the film that heavily. I feel like there is probably a Michael Bay cut of a 3 hour movie here, and her moments were the ones that were left on the cutting room floor. Maybe they can bulk her up in an inevitable sequel.

The first 25 minutes of the film is one long awesome car chase, which should’ve had a giant watermark of “I’m Back” from Michael Bay in the background, because its is the best car chase I have seen in a long long long long long time. But that isn’t the only great special action set piece. There is one in the middle of the film involving a pool and one at the end involving a boat that involves magnets in one of the most visually stunning scenes I’ve ever seen come out of Bay’s filmography. You’ll know what I mean when you get to that part. The film is just plain fun, with the chemistry of the team being solid yet fancy free, and the quips and jokes from everyone, especially Reynolds, hitting their mark each and every single time. The only thing that will put some people off about this film is that the editing is extremely jarring. There is not one shot that lasts more than 5 seconds, and I’d say the average shot only lasts about two seconds. But if you are used to Michael Bay movies, you should already be used to it, as that shit hasn’t stopped since Armageddon. I have a feeling he films so much shit that his editor has to take a boat load of pain pills just to be able to control his headache while trying to put the movie together. The only thing true thing I can say about Michael Bay is this: the son of a bitch knows how to beautifully film an action sequence, no matter how jarring the editing and no matter how shitty the script is.

At least the jarring editing isn’t combined with a shaky cam. Bay also knows how to film static shots, even though they might be quick cut where every scene only lasts .5 seconds. I’d rather having static shots with jarring editing, than decent editing but with constant shaky cam. Anyway, 6 Underground is what Netflix is partly made for. Fun films like this. I really hope that Michael Bay and Netflix, after this film, maybe sign a numbered picture deal, because Bay could have unrestricted fun on this platform. You can tell with this movie, they just handed him the money, green lit the script and just said, “do whatever you want. go for it, we will not intervene.” When the movie was done they just released it, no questions asked. Because they know that Bay, when it doesn’t have to deal with fucking emotionless robots, can deliver a half way decent entertaining ride. This is one of those, no more, no less. Not one of the best films of the year, but one I would definitely watch again on Netflix with friends who haven’t seen it, or if I’m bored and can’t find anything else to watch that day. 6 Underground is Bayhem at its finest. If you’ve missed that Bayhem since his great action films from the mid to late 90s, and then Transformers ruined everything, then 6 Underground is Bay’s fun return to form.