6 Underground Explained: What’s Up With the Ending?

An eccentric billionaire (Ryan Reynolds), who made his fortune in computer technology and neodymium magnets, has come to the conclusion that there are many very vile people in the world who need to be stopped, and the US government does not want to do anything with these people – for various political reasons. After that, the billionaire faked his own death so that he could not be traced, and recruited a small detachment for the first mission in Florence.

There are six people in the squad. They call each other by numbers. The first is a billionaire himself. The other is former CIA spy Camille (Mélanie Laurent). The third is hired hitman Javier (Manuel Rulfo). Fourth – British gopnik, thief and parkour Billy (Ben Hardy). The fifth is doctor Amelia (Adria Arkhona). The sixth is the driver (Dave Franco).

During the first mission, where the billionaire needed to get an item in order to gain access to the operations of one very bad person, the driver died. Then the First invited the Seventh to the detachment – this is the former sniper of the Delta unit Blaine (Corey Hawkins). First explained to Blaine that there are a lot of assholes in the world that no one fights, and I, First, unlike your army superiors, will never forbid pulling the trigger. So come join us.

The first explains to the detachment that now their main goal is the dictator of the state of Turgistan, Rovach Alimov (Lior Raz). This dictator is very, very bad. He bathes in luxury, and his people are begging and trying to escape from Turgistan wherever they look. And Rovach organizes attacks on refugee camps and uses chemical weapons there.

Rovach has a brother Murat (Peyman Moaadi), the billionaire said. He is good and generally for democracy. But Rovach keeps Murat imprisoned. If we, says the First, manage to kidnap Murat and organize a revolution in Turgistan, then the Rovach regime will fall, and Murat will lead the grateful people of Turgistan to a brighter future.


Another interesting experiment of the streaming service Netflix. The company has already committed $150 million to Martin Scorsese’s epic crime drama The Irishman, with no one to interfere with the production process from Netflix, and they have committed another $150 million to ensure that the famous director of carbon action films Michael Bay can not restrain his wildest instincts and directed the film “The Phantom Six” exactly the way he wanted.

The script of this action movie was written by the scriptwriters of “Deadpool” and “Deadpool 2” Paul Wernick and Rhett Reese, also from “Deadpools” Ryan Reynolds migrated here, and he is the only star in this film, because the rest of the actors are much less famous.

What exactly was in the original script of this film, one can only guess, because for Bay the purely spectacular and driving component was always in the foreground, and here there was no control over him, so the director went wild.

Actually, it is pointless to discuss all sorts of absolutely amazing absurdities of the script and the complete absence of at least some kind of intelligible motivation for the characters, because there is no script at all. It’s just that for some reason a certain group of people is trying to overthrow the dictator of a certain country that has obvious allusions to Turkmenistan, and the dictator is trying to make sure that he is not overthrown.

This happens in cinema: for example, in the absolutely mind-blowing film Mad Max: Fury Road, the whole plot is described in two sentences: “Good people go from point A to point B, and bad people try to catch up with them and kill them. Then good people go from point B to point A, trying to kill all the bad people.” But this is such a spectacle that while watching, you can easily tear off the arm of the chair.

Here with the spectacle – everything is fine. Minimum talk, maximum action. The absolutely frantic initial car chase through Florence easily makes any starting chase of Bond, and here this race lasts as much as eighteen minutes with small breaks for flashbacks.

Billy’s rooftop parkour jumps – both in flashback and during operations – look incredibly impressive, and I don’t really understand how everyone managed to stage it.

The release of Murat from the penthouse of a skyscraper in Hong Kong is also staged with maximum effect.

Well, the final battle on Rovach’s expensive yacht is also cool, especially the scenes with magnets.

At the same time, Bay makes full use of his signature clip editing and unexpected camera angles, and also very actively uses shooting from a helicopter and from drones.

As usual with this director, everything was very cool, but what is unusual is very bloody, but here everything was initially rated R, so you could not be shy either in the naturalism of the scenes or in the expressions that Reynolds’ character used: that’s why here and brains squishing on the pavement, and jokes that are not childish (however, nothing special, children will obviously not be torn apart from shock).

By the way, very interesting point! If you do not take all sorts of horror films and a specific thrash-rash, then here, in my memory, this is almost the first big-budget action movie, where during the races civilian casualties are very serious and Bay is not shy about this. And then take some kind of Bond – there, passers-by will only drop a newspaper out of their hands when sports cars rush through the streets at a wild speed. But here – no, here the people were fairly suppressed, just like in the game “Carmageddon”.

True, Bay still did not cross certain boundaries: not a single child or puppy was injured in the race, otherwise it would have been completely buried. But the Uffizi Gallery was much less fortunate, and again I don’t understand how all this was filmed at all: there was a complete feeling that the Alfa Romeo was really running around this one of the oldest museums in Europe.

I must say that when editing, Michael Bay somehow does not get carried away with special attention to detail. Therefore, the driver’s mirror of the sports “Alfa Romeo” is demolished, then it reappears, and the side of the car, torn by the truck almost at the very beginning of the race, from time to time mysteriously regains its original appearance.

Bay is even less steamy with locations: Bublik and I really neighed when the detachment’s car, while driving through Florence, literally for a second drives into the famous Piazza Del Campo, which, of course, is very beautiful, but still located in Siena, eighty kilometers from Florence: this is, in fact, the symbol of Siena, the famous Palio races take place there (by the way, they appeared at the beginning of Quantum of Solace).

Ryan Reynolds portrays something similar to Deadpool, only here the pipe is lower and the jokes, to be honest, are much simpler. Reynolds works out his lines diligently, does not hack, but it all looks somewhat artificial – it was more fun in Deadpool.

The rest of the squad, in general, is very, very gray (it is clear that they were sharpened primarily for Reynolds and no one should have overshadowed him), well, except that Javier was more fun than the rest and had a funny dive with the billionaire.

It was nice to see Lior Raza from Fauda, ​​but here he got the role of a completely typical Central Asian dictator, and it was almost impossible to squeeze something really interesting out of this.

But, as I said above, this film was created as a pure attraction, it is this attraction: very dynamic, spectacular and spectacular, but at the same time completely meaningless.

Accordingly, the audience relates to him. For some, this is just an annoying flickering against the backdrop of a cretinous scenario, for others it is a cool and very driving spectacle with bewitching special effects. And as for the script… Yes, there is no script here, because it’s just an attraction.

I was impressed. Completely disposable, but very famously – Bay came off in full.

Now the question arises whether this film will have a sequel: since the First has several portraits of all sorts of bad radishes on the wall, it is clear that they were originally laid down for the franchise.

And here, as with a regular rental, you can’t decide: this is a streaming service, so only they can determine whether this project is successful or not, whether it is worth investing that kind of money again or not.


Ghost Six / 6 Underground movie meaning

Director: Michael Bay Cast: Ryan Reynolds, Manuel Rulfo, Yuri Kolokolnikov, Peyman Moaadi, Melanie Laurent, Dave Franco, Lior Raz, Corey Hawkins, Ben Hardy, Adria Arjona

Budget: $150 million

Action, USA, 2019, 127 min.

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