Wizard-8 It seems that writer-director Larry Cohen got some inspiration for this movie from the obscure 1979 German movie "Spare Parts", though to his credit he made a lot of changes so he can't really be accused of plagiarism. For one thing, he adds a considerable amount of humor in this telling when the original movie was dead serious. But ultimately, the humor doesn't really fit this movie, mainly because there is also a serious side to this movie as well. While it may have been possible to be equally humorous and serious, the actual execution here doesn't work, and as the result the movie often has a strange feeling where you don't know whether to laugh or be thrilled. This uneven tone may also explain why most of the cast gives really strange performances, seemingly unsure what tone they should be acting in. The production values are good for what had to be a low budget, and I will freely admit that I wasn't BORED at any moment while watching the movie. But as the end credits started rolling, I felt unsatisfied with what I had just watched. Things probably would have worked better had Cohen stuck with one tone throughout.

d_m_s The Ambulance is a pretty unusual film and as far as B-Movie's go it's slightly above average and is quite an enjoyable watch as a one-off but I don't feel there is any repeat-viewing value.The story itself is naff - an unscrupulous doctor and a load of henchmen kidnap diabetic people in order to sell them on for some kind of medical experiments. It doesn't make a whole lot of sense and there are plot holes but I didn't really care about any of that because once I started watching I continued doing so not for the story but for Eric Roberts's performance, the randomness of the whole film and just to see where it would end up going.Eric Roberts plays a Marvel comic book artist who tries picking up a girl in the street. She collapses and is taken away in an old-style ambulance. There's something obviously dodgy about the ambulance and the paramedics and when Roberts goes to visit the woman at the hospital only to find she was never admitted, he begins his journey to find her.I did not realise the film was supposed to have a comedy element when I first started watching so Eic Robert's hair and performance was a little jarring at first but once I got into the swing of things his performance was the best thing about this film. Other performances were a bit random. Some were comical, some were straight, some were just weird (James Earl Jones). Overall it gave a weird effect to the film.The pace was good and I didn't get bored at any point. As mentioned, it was an enjoyable one-off watch but don't think it's a film worth re-visiting.

lost-in-limbo I hadn't seen "The Ambulance" for quite awhile, but I had a good time re-visiting it and this was one of the first works I had seen of filmmaker Larry Cohen. It might not be one of Cohen's highly regarded pieces, but "The Ambulance" is a fun, gripping slice of paranoia with an injection of black humour. The concept is audaciously ludicrous and Eric Roberts' ham-fisted lead performance is full of energy (and lets not forget that hypnotic mullet when in motion), along with James Earl Jones small, but cynically meaty role as a rundown detective on the edge. Moving at a fast, uniformed tempo, Cohen's boldly tight direction never lets up (where he knows how to shoot on location for maximum effect) and his writing manages to stay one step ahead as you get pulled along for the dangerous ride with its engineered thrills. There always seems to be some sort of threat at every turn for Robert's character and this keeps it excitingly intense, if daftly over-the-top with comedic results. Especially its cheesy climax in a night club with some berserk ambulance driving and of course its irony-laced revelation that you won't see coming. Roberts' character sure didn't. The plot takes on a modern approach to its mad doctor formula, staying quite dark and full of mystery in the chase/or race to uncover the truth while also trying to convince people of the threat. Roberts' plays Josh Baker a comic book artist who one day goes about asking out the women of his dreams (a stunning Janine Turner) who he sees everyday out on the streets of New York. An incident sees her collapsing with Josh by her side and then a mysterious vintage ambulance appears and whisks her off. So he goes to one hospital after another with no such luck. He thinks there might just be more to it, as he uncovers and now he's running for his life with no one believing him there's a phantom ambulance kidnapping people. Eric Braeden is suitably clinical as "the doctor" that's behind the kidnappings and Megan Gallagher offers good support as a police officer we can trust. Red Buttons is enjoyably snappy and Cohen regular James Dixon shows up too.

Andy (film-critic) Ripping from the pages of what seems like a Crichton-esquire medical drama, Cohen pulls the myths of diabetes into the world of comic book artists and paranoid cops. Confused? Not to worry, it doesn't get any better than this. Using Eric Roberts in a horrid accent, unknown decisions, and over-sized 80s suits, Cohen attempts to create a fear for an inanimate object that is typically used to save lives – in this film it becomes the source for chaos and death. Couple with the fact that Red Buttons gives us jokes that were made during the early part of creation, James Earl Jones in an unfunny gum chewing scene, and Janine Turner proving there is something she cannot do (i.e. act), Cohen butchers a film that wasn't strong enough in the first place by placing Landis-like jokes in a hodgepodge film. To begin, Roberts is horrible. He reads his lines from the cards behind the camera, half the time doesn't remember what he is to say (winging it is not one of his stronger suits), and builds absolutely no chemistry with anyone else on set. His initial lust for a random woman is … well … random. There is no reason to his sanity and his motive for the remainder of the film is never quite established. Is he a hopeless romantic, or just trying for anything? The fact that he is a comic artist is thrown into the story haphazardly, especially in the beginning where he tries to give out pictures he has drawn of her, only to find her cardboard roommate, following the same steps with the style of acting, drinks a Pina Colata, while muttering "I don't know why I am drinking this, I am a diabetic as well". DUM DUH DAH. These poorly placed moments of either comedy or honest drama are miscalculated from the beginning, forcing us to question what Cohen wanted to do.The words above don't even scratch the surface for what atrocities the acting was in this film. It was worse than a High School drama, nobody cared, and it was apparent from the first time that Roberts opened his mouth. There were no characters. Nobody in this film did something that one could consider saying, "that was fully in his characters realm". Vague was the underlining factor and acting style between these actors. I would have expected this from some, but not from James Earl Jones who proves that you don't have to pass acting 101 to get work in Hollywood. Perhaps I am confused, was Cohen trying to pay homage to another style of film-making or genre? It wasn't apparent in this film, as much as I would like to forget it, the story matched the characters. Diabetes was the joke of the film. While it should have been something that scared us, every time it was mentioned a laugh erupted. What made me happy was to see that at least Ecto-1 was getting work post "Ghostbusters", but even he fell into the Roberts trap. While I believe he was the only one to do his own stunts and physically remember his lines, by the end of the film the ambulance was never quite as frightening as one would hope. The doctor who was committing these crimes was never explained, never questioned, never judged, just evil without motive. Where was the motive in this film? As this review is typed, questions over-inflate my mind. These aren't intelligent questions, but instead, ones that need to be asked to get out of the sinking plot holes in the script. Why would any cop shoot a gun into the air in a dance club? What is the deal with the other death in Central Park? Why was Red Buttons given Bob Hope-styled jokes? Why did Stan Lee approve this film? Questions. Questions. Questions. I need answers, answers, answers."The Ambulance" was a pathetic excuse for a film. There is a reason why it hasn't made it to the honorable level of DVD, and hopefully it never will. Perhaps it has an underground cult following, or Ecto-1 has more fans that I knew, but this was painful to view. James Earl Jones, chewing gum, ranks among one of the worst jokes/images I have ever had to experience in my days of cinema watching. I kept waiting for something, anything to pull this film out of the gutter, but the level of disappointment continue to grew with each unbelievable scene. Nothing made me laugh, nothing frightened me, nothing upset me more than the complacent disrespect for a dangerous and serious disease. If Cohen had done some homework, pushed the level of insanity with the doctor, created a more menacing vehicle, I think we would have had a mediocre little thriller on our hands, but with the choices made, it just turned into depressing garbage. I think Cohen has made his mark, but "The Ambulance" probably set him back for years. From the beginning to the end, there was no potential. This film needed a reset button, from Roberts' amateur accent to the robotic characters that Jones and Gallagher (the tough-as-nails femme cop with a heart of gold), and the jokes of Red Buttons which would make your ears bleed. "The Ambulance" is a hidden film, and with what I just witnessed hopefully will never make it to the surface again.Grade: ½ out of ***** (only due to my respect for Ecto-1)