Michael Bay never deceives anyone: if you sit down to watch one of his films, you know exactly what to expect. Explosions, impossible chases, cheeky humor, and editing that never takes a breath. Here he pushes it to the limit right from the first sequence, a chase in Florence that feels endless and sets the tone for everything that follows. The plot is little more than an excuse to bring together six characters who operate outside the system, but the truth is the story matters less than the spectacle. Bay indulges in stylized violence, impossible shots, and that music-video aesthetic he loves so much. The result can get tiring at times, but it also ensures the pace never slows down. Ryan Reynolds is the film’s comedic anchor. He basically plays a variation of himself, with quick jokes and the attitude of a sarcastic antihero. Not all of his gags land, but he fits well into this over-the-top universe. The rest of the team does their job without standing out too much, though the group dynamic adds some fresh air to the story. This isn’t a film to look for coherence or depth. Its value lies in the overflowing energy and the excess of its proposal. It’s Bay at his most unrestrained, for better and worse. If you play along, it’s easy to have fun with his visual flourishes and with the scale of the action that only a Netflix blockbuster could afford. In the end, it’s a roller coaster that entertains while it lasts, though it’s unlikely to leave much of a mark once the credits roll. Those looking for pure escapism will find it; anyone expecting something else should probably stay away.