Bay in CoenLand

Let me preface the following with an admission before we get to the heart of the matter.

I've not been a fan of Michael Bay movies.

Bay's movies have all represented a form of obnoxious entertainment bordering on the incomprehensible that plumbs the barrel of juvenile humor and amps everything from color saturation to action to sound up to eleven. The very illustration of mindless and indulgent entertainment draped in the American flag personifying every negative stereotype of our country imagined played with an absence of wit or thought.

It was initial intrigue that pulled me into the local theater to see Bay's first non robot filled extravaganza in several years, Pain and Gain. There was this summary that Michael Bay was attempting noir via the Coen Brothers which had floated around online. Although being an admirer of the Coen brothers, performing a close impersonation of the brothers film style with the subtlety of whatever obnoxious thing you can think of is pretty intriguing.

Pain and Gain is the absolute bizarre story of Daniel Lugo (Mark Wahlberg) who is struggling to seize his version of the American dream. He has the sculpted physique of an Adonis, yet, none of the ambition to make his financial dreams a reality that matches his desire for physical perfection. He's quick to speak and enthusiastic to get his dreams out in words and pull others into his various schemes. Lugo has a sense of entitlement in regards to making lots of money with all the trappings being fabulously wealthy bring along. Unfortunately he wants it now as opposed to working for it.

A personal trainer who quickly climbs the ranks of Sun Gym, Lugo triples the gym's membership in a matter of weeks. He begins training Victor Kershaw (Tony Shalhoub) who's everything Lugo isn't in the business world. and is no shrinking violet when it comes to describing his wealth. This stirs disdain within Lugo and develops into jealousy. "Why should Kershaw have the American dream when he's a scumbag?" thinks Lugo

Lugo hatches a plan of simple extortion with fellow gym rat Adrian Doorbal (Anthony Mackie) on Kershaw. They quickly realize they're needing a third party to accomplish their goal.  The two enlist the reluctant help of Paul Doyle (Dwayne Johnson) who's come to Miami after several years in jail for a fresh start and because there weren't any warrants for him in Florida. Doyle has reformed his criminal ways and become a zealous Christian.

The extortion plot develops into a kidnapping as the trio kidnaps Kershaw and hold him hostage for a month until he signs over all his property and cash to his kidnappers. Circumstances happen though after the plan is executed and the trio realizes that Kershaw will be a liability to their new found wealth and freedom if he's allowed to live.

The last half of this film does indeed play out like a Coen  Brothers film in which there is some accidental blood letting and violence as well as absurd black humor. When retired private investigator Ed DuBois (Ed Harris) arrives to investigate the happenings of the first half, the film picks up some steam. The first half has overlapping voice overs to set the tone but it's done too long and after while unnecessary. It slows the story with different asides to the characters. I sensed that Bay was wanting to actually get under these characters skins rather than keep things all surface, but, it comes as a detriment than help.

Performance wise, this film is owned by Dwayne Johnson. His Paul Doyle is at times sympathetic and pathetic simultaneously. Johnson has real fun as the character and lights up the movie when present as it arcs from Jesus loving ex-con to relapsed addict. Mark Wahlberg puts in a performance that had me thinking "Dirk Diggler: Exercise Nut" a lot of the time. This is possible due to the whine that ends each sentence of dialogue. Anthony Mackie puts in a nice performance as Adrian, who wants the type of body Lugo has, and who's rampant steroid use renders him impotent.Ed Harris is great as the P.I. who takes this case with a seriousness the Miami Police didn't at first.

There are fun bits done by Rebel Wilson, Rob Corddry, and Ken Jeong for mostly comedic effect. As for Michael Bay... well this was still obnoxious at times, but, the volume was turned down to 9 than the usually set 11. Bay's showmanship is on full display, yet, there are points where he reeled himself in. The problem I have with his films are there is talent on screen. He can shoot an action sequence with relish and he has a decent skill set that could make him accomplished. More often than not, he just tosses subtlety aside and just goes completely gonzo. Rather than make a good homage to the Coen Brothers noir genre, Bay turns in something more closer to late Tony Scott. This isn't a bad thing per se. It isn't a "Michael Bay movie".