6 Underground

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Cast & Crew

Ryan Reynolds
One

Adria Arjona
Five

Mélanie Laurent
Two

Ben Hardy
Four

Dave Franco
Six

Helene Cardona
Opera Guest

Sebastian Roche
Lawyer

Corey Hawkins
Seven

Manuel Garcia-Rulfo
Three

Michael Bay
Director

Paul Wernick
Screenwriter

Rhett Reese
Screenwriter

Michael Bay
Producer

Ian Bryce
Producer

David Ellison
Producer

Dana Goldberg
Producer

Don Granger
Producer

Garrett Grant
Executive Producer

Rhett Reese
Executive Producer

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News & Interviews for 6 Underground

Critic Reviews for 6 Underground

Audience Reviews for 6 Underground

• Dec 30, 2019

  I guess this is Michael Bay unleashed. It's been called the Bay-iest Michael Bay movie and…yeah, that tracks. As an action movie, it's actually a helluva' lot of fun. Honestly, even by Michael Bay standards, it's kinda…good? Don't get me wrong, it's over the top and ridiculous as all hell, but unlike the worst of Michael Bay there is a great deal that remains practical, they actually keep it at a reasonable runtime (2 hours rather than 3!), and they mix up the action so you never get bored of one type of thing happening. It almost feels like Michael Bay used all he learned from those s***y transformer sequels to actually make a good movie here. Unfortunately, the story is where he hasn't learned much. The basic premise we get is fine. Despite being both outlandish and bare-bones, I still want to see them succeed. The problem is in how it's told. Oftentimes it will jump around in how the team got together and with Bay's cocaine-fueled directing style this out-of-order narrative becomes a little disorienting. It also tries to have something of a bigger message about our current state of the world and dictators. Not a bad idea per se, I'm just not sure this is the movie to do it in. Still, it's a fun movie. It's surprisingly restrained in all the bad things about Bay but goes full force in the fun stuff.
  Michael M Super Reviewer
• Dec 27, 2019

  The mastermind of the special forces team of "ghosts" is billionaire inventor "One" (Ryan Reynolds). He's assembled a team of specialists that have faked their own deaths to work as an elite team taking out an elite array of bad guys, tyrants, and war criminals. That's the plot of 6 Underground. What follows is a collection of loud noises, colorful explosions, blood splatter, and mainlined madness pumping through all of your demolished senses. 6 Underground is like a direct pipeline into Michel Bay's childhood brain. It's Bay at his most unfiltered, which means that the tone isn't just over-the-top, it destroys the top, establishes a new higher top, and then obliterates that designation as well. Watching the movie is like a descent into juvenile hysteria and I couldn't help laughing at the excess. It's the kind of action movie where cars don't just fly and career off the road, they split in two and smash just so the driver's dead body plops out in the camera angle. It's the kind of movie where the bad guys don't just get shot but get shot in lovingly disgusting ways, like a bullet going through a cigar and a pimple-popping setup leading to brain explosions. It's the kind of movie where a dangling eyeball is played for giggles. It's the kind of movie where people aren't just getting hit by cars, they're getting propelled into other objects from the blunt force. It's the kind of movie where the bad guy names his generals The Four Horsemen. It's the kind of movie where a character removes a bullet-proof helmet right before re-entering a firefight for… reasons. It's the kind of movie with 100 needle-drop music selections, including, by my count, five Muse songs (but not one use of the Sneakerpimp's "6 Underground," which is an egregious oversight). It's the kind of movie where someone unleashes a crashing crate full of metal poles and they launch like heat-seeking projectiles, filleting bad guys and bad guy cars. The opening twenty minutes is a non-stop car chase through the streets of Florence, Italy that must lead to billions in damages and, in one moment that screamed the only self-aware flash in the entire two-plus hours, the cars are racing through museums and laying waste to precious works of art. It's like Bay is winking at his critics and saying, "This is how you see me, a gleeful provocateur that destroys the very concept of high art, so here I am, doing it for real." To say this movie is crazy is a disservice to the word itself. 6 Underground is pure, testosterone-pumping id, and it can become exhausting without any foundation to hold it all together. The plot is extremely generic and fees like a relic from the 1990s, a billionaire assembling an elite team of criminals/killers/spies to go undercover and take out the world's bad guys. They're "ghosts" in the fact that they've faked their deaths, but what exactly is gained from this process beyond, say, going off the grid? The idea of them being dead is meant to be freeing, but their friends and family are still living and can be used to apply pressure on these still-living people. Except this never happens. The plotting is incredibly sloppy and elects to skip around in time in a misplaced attempt to seem cool. The entire opening twenty minutes feels like it's one-upping itself out of naked fear that somehow an audience will be bored, like the viewer is somehow building a tolerance to the mayhem and will walk away unless it just keeps going up up up. The opening sequence has a florescent green sports car spinning through the streets, chased by armed vehicles, while bullet-removal surgery is being performed in the backseat, while an eyeball is being dangled to open a security code, while the narrative jumps back and forth in time to present whose eyeball this belongs to and what happened, and that's even before the art museum smash-up and a slow-mo spin that twirls into absurd self-parody, where someone screams not to hit a woman with a baby, which we narrowly miss, followed by someone screaming not to hit a dog, which we next narrowly miss. Then there's nuns on bicycles knocked onto the ground who respond with raised middle fingers. It's so much, all the time, with Bay's hyper edits and swirling camerawork that you feel beaten down. It's all the outrageous spectacle we've seen in other Bay films but now it's condensed to its essence and splashed into your eyeballs. There aren't so much characters in this movie but action movie avatars or, even simpler, Person-Shaped Entities Who Hold Guns or Drive Fast. Reynolds is playing the same variation we've seen for the last few years since his success in Deadpool, which makes me think this is the only Ryan Reynolds we'll be getting in movies from now on. The plot even provides completely frivolous flashbacks to provide answers to the non-burning question of how the crew was gathered together. I suppose it's an excuse to squeeze in more action sequences but that only ever happens with the parkour Brit member. Speaking of which, the parkour action sequences are, by far, the best parts of this movie and it made me wonder what a parkour action movie under Bay's command could be like. Every character has three modes: Badass, Quippy, and, least convincing, Self-Serious. These are not recognizable people, and the female characters are even less versions of not-people. The movie thinks it's being cool by assigning code names that are just numbers, like they won't get close to one another without the convenience of names. It's just another sign of how disposable every character is and how little thought was given to character arcs beyond redemption. There's one mission in Hong Kong that utilizes them as a team but even that is fleeting as far as developing a more cohesive camaraderie. They're basically like distaff superheroes that have been forcibly crossed over for some special event and are waiting to return home for solo adventures. You could create a sequel with a brand-new team and not miss a beat. Is any of this bombastic silliness genuinely entertaining? Much of Bay's popular works exist in that strange space where you willingly shut off your brain for the popcorn thrills. I like half of the Transformers movies (though quite dislike the other half) and think Pain and Gain showed real promise, before it wore out its welcome, that Bay hasn't been able to better tap into. I'm not an automatic hater of Michael Bay as a filmmaker; he's a born cineaste when it comes to style. Even when his movies are running off the rails, they're never truly boring. With the unlimited freedom of Netflix, Bay was able to unleash his full chaotic imagination, and the results can prove to be entertaining in spurts. I found more bafflement just trying to process everything. Bay's advertising instincts are part of his style, so every over-saturated moment of 6 Underground looks like it could be a commercial for the military, cars, perfume, or some expensive watch. It's a world of wanton excess and disposable thrills, and that relates to its portrayal of women too. Women become another interchangeable object to be fetishized and commoditized by Bay's roving camera. It's the male gaze cranked up on high, lovingly depicting fast cars, sexy women, and human carnage. Even the brains and blood being blown apart feel fetishized (bad guys don't just get shot; they ooze goop for several seconds from gory head wounds). It's a movie that wants to overpower you by every means available, with the excessive trivialities of action movies, with aggressive style that desperately wants to be seen as cool, and with its exaggerated concepts of hyper masculinity. 6 Underground is a hyper-edited, hyper-masculine, and hyper-tiresome action vehicle that exhibits every unchecked impulse of Bay as a filmmaker. The plot is inconsequential because it's all just gristle for action sequences, which aren't even developed scenarios as they are (occasionally literal) eye-popping moments of excess. Someone in those Netflix suites really should have second-guessed giving Bay a blank check and little-to-no supervision. Nate's Grade: C-
  Nate Z Super Reviewer
• Dec 23, 2019

  Style over substance, incoherent narrative and dizzy at times; 6 Underground is classical "Bay"hem at display for Netflix to revel or detest, depending on your need for action that day. The film's rambling direction, pompous, yet stylish violence and hollow characters are egregious that not even the charm and flawlessness of Ryan Reynolds could salvage what's left. 2.1/5
  Eugene B Super Reviewer
• Dec 17, 2019

  Whether you like Michael Bay as a film director or not, it goes without saying that he has a very distinct style and never lets audiences deter him from that, which is commendable, even though most of his films are misses. From The Island to Pain and Gain, he has made some films that I quite enjoy, but nothing that was ever thought-provoking or broke new ground. 6 Underground is his latest directorial effort and it's just as grand and bombastic as his most ridiculous films. Although better than where his recent Transformers movies have been, this film isn't nearly as good as some of his best. Here's why this movie has plenty of style, but ultimately feels like a headache.  Following six agents who have gone off the grid and call themselves ghosts, form a team to save the world. All having unique skillsets, this film does everything it possibly can to utilize them. When this film first gets started, there's no shortage of action. Stating who these people are, 6 Underground begins with an action sequence that lasts a full 20 minutes. After that, we dive into these characters a little deeper as the film makes you wait for the second half, which is entirely about the set pieces. Although not a great movie by any means, there's no shortage of action for the junkies out there.  I feel that this movie found its footing in the second half, but the first half of this movie truly gave me a headache. From the quick cuts to the unnecessary excess of camera angles, this movie feels like too much of everything, all the time. There are even cuts within shots in order to give a kinetic look and feel like the movie is moving at a quicker pace. Although it's a neat style for a music video, that's how this entire movie felt. It really does feel like an over-produced music video with exposition breaks in between the action.  As far as the cast goes, Ryan Reynolds is as charismatic as ever and everyone from Corey Hawkins to Mélanie Laurent delivers some enjoyable performances. The problem is that these characters are spread out in the field too often to really be working together, so there wasn't enough time for chemistry to form between any of them. The action is the only real saving grace here because there are some terrific set-pieces. Although far too frenetic overall, the action is nearly always practical, which was great to see.  In the end, 6 Underground is one of Michael Bays weaker movies, which is a shame, because it also features some of his best action in years. I had a blast watching the third act of this movie, but the rest of it just kind of annoyed me. I've been a defender of his recent movies in 13 Hours or Pain and Gain, but this movie just technically missed the mark and the story was far too messy. For those who just want to see some cool action, I can recommend this one, since it's easily accessible on Netflix, but it's really not worth the two hours. Some nice elements aren't enough to save this bombastic piece of Bayhem.
  

  KJ P Super Reviewer

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