Ambulance (2022)

Speeding vehicles are clunked and donked into one another with xylophonic zeal, while the camera snakes and tears between them faster than seems physically possible. I mean it as a compliment when I say there are entire sequences here which look as if they might have been shot by a monkey in a jetpack.

Ambulance is just delightfully unhinged in its experiment to see how much carnage can be caused by just one car chase.

For all its showy excesses, sophomoric humour and strained gravitas, Ambulance is often riveting, the film speeding along as recklessly as that ambulance. This popcorn thriller certainly is not brainy, but its escapism has a muscular precision.

Michael Bay’s tribute to the emergency services (which involves blowing several of them up) is noisy, messy and frequently absurd — yet still somehow his most gleefully entertaining effort in at least a decade.

Ambulance is a purely aesthetic beast, made for those who like their films to look like they’ve been edited by someone in the middle of a panic attack.