It is nothing new. A film that is handled through codes that seem the same as always, only that they really are not, will not reach theaters. If they did it with 'Roma', 'The Irish' or 'Story of a marriage', they could have repeated the play with the new Michael Bay movie, the great '6 in the shade'. It will be the old opinions were actually fixed ideas.
It is not necessary to search among unknown titles by the general public to realize that, at least in Spain, we have a problem with the distribution of much cinema worthy of a screen. It happened to us not long ago with 'John Wick', which server could see in the cinema in the winter of 2014 (outside of Spain, but not far away) and that would not reach national territory in the spring of 2016, a year before premiere in style (there already, of course) of its sequel, 'John Wick: Blood Pact'. The problem is that that arrival in Spain it came through television.
It wasn't the last one, of course. A year later, the great 'Wind River', by Taylor Sheridan, suffered the same conditions after triumphing around the world and would arrive from tapadillo to our country. Something that has happened to the new director of 'The Rock', but not exactly the same way.
Michael Bay has reinvented himself with the quirky and extraordinary '6 in the shade', a delirious style exercise (nothing new under the sun: Bay is a registered trademark) and action with a component that makes it really more attractive than the rest of the competition actioner of the year: it is the most beast. And it is not because yes. It is the most mocking (commercial) action movie of the year for one simple reason: Michael Bay may have been the filmmaker who has best understood the freedom of working in the shadow of streaming.
Freedom on streaming bail
While Alfonso Cuarón decided that his next project in black and white would find the best possible shelter on Netflix, since being a cinema, in theory, little commercial, autobiographical, black and white and somewhat pedantic (OSCAR), perhaps the Rooms were not filled with people. The point is that popular opinion adapts quickly to what the first ones dictate, and it was decided that 'Rome' should be seen in the halls.
Does the Irish sound to you? Scorsese's film was also funded by Netflix after many years of Marty & Friends daydreaming about such an epic. Of course, there was resale of tickets. Because yes, hey, because people are like that. If 90 turkeys are paid for some shoes to play the Playstation, how can they not pay for a movie ticket that, guess what, you have not only paid for: you have it at home.
Much more discreet and enjoyable was the case of the last masterpiece starring Adam Driver. Obviously I am not referring to that nonsense common sense of episode IX. I refer to 'History of a marriage', a cynical, touching and exciting story of love and infinite heartbreak that in this case went through the rooms to access without problems to the rain of prizes awaiting just around the corner.
Unfortunately, '6 in the shade', as is "nonsense" of the turkey of 'Deadpool' and the director of 'Transformers', did not have room in the rooms. Okay. Bay understands the matter as what it is: absolute freedom. The age filter that each one puts in his house as he pleases. That absolute freedom leaves us moments to remember, with a prologue that is by itself the best action movie of the year. And then there are still another hundred minutes of Macarrismo and show without limits.
This year's action cinema has left continuations that begin to show signs of fatigue ('John Wick: Chapter 3 – Parabellum'), sagas that need a refreshing pause ('Fast & Furious: Hobbs & Shaw') or competent jobs that precisely because they do not belong to any of these franchises, they have passed without sorrow or glory. Although, in the case of the great 'Anna', the problems of its director also have something to do with it.
Michael Bay's movie hits the spot with the hyperbole of it: any object on the screen is about to explode into a thousand pieces. Even if it is a living being or an inanimate plastic object. With that premise, who the hell needs characters. '6 in the shade' has explosions, ingenious dialogues, quick camera cuts, explosions, spectacular long sequences of action, explosions, beautiful locations, explosions, fast cars and a large budget where every dollar invested is reflected in the image that Bay captures in a multitude of formats, sizes and cameras. Since we pay for a service, unless it entertains us. And entertainment is plenty. When is next, guys?