Pain & Gain

In the context of sweat and blood, there is often talk of black humor and crazy fun. But I didn't notice anything like that, and please, I like black humor, and I was quite curious to see how Michael Bay would make a story about people who empowered everything but their brains, a story made for the Coen brothers. He filmed it well, it has his style and flair, but I didn't like a single character in it, the humor was still one-note, the only bright spot of the more than two-hour spectacle was Ed Harris who didn't get much space... I just felt quite out of place when something was happening on the screen that I was supposed to be laughing at, but I wasn't. Michael Bay's worst movie. (09/08/2015)

In full John Waters mode, Michael Bay presents a perversely excessive vision of the sick nature of the American dream. Based on actual events, the screenplay could have been created as a moralising drama or a bit of Coen-esque absurdity, but thanks to Bay and his excessive visual style, it takes on a frantically boisterous form, which also adds a deranged meta level to the whole project. No one else would add to a story from the 1990s the necessary mid-’90s impropriety in maximally attractive modern attire. (17/11/2020)

Very likely the worst Michael Bay. A film that has an amazing soundtrack, likeable Wahlberg and Johnson and great actors (Wahlberg/Johnson and Harris, respectively), over-the-top visuals, and a crazy story that can't be taken seriously and thankfully doesn't take itself too seriously either. But at the same time, it’s a routine and tedious ride without a shred of creative innovation and Bay's previous passion, filmed apparently just to kill time before the next Transformers and to cement the collaboration between director and lead actor. I finished it okay, but I wouldn’t want to see it a second time for anything in the world. 60% (19/03/2014)

Any chance of something smarter and more satirical is erased by the fact that Michael Bay is in the director’s chair, a creator with the mentality, the taste and the ethical views of a 10 year-old kid. Pain and Gain is the embodiment of what I despise in films: romanticisation of wretched characters, worship of violence, shooting from the hip and primitive humour. The argument that the movie is actually a critique of its stupid, primitive and shallow characters is only a cheap excuse for those who want justify to themselves the sad fact that they believe that all that blunt corporeality and jokes at the expense of fat people, gays and immigrants, and the glorification of violence are cool. Just like Bay. (12/08/2013)

How do you combine irony, distance, fun and shock? Don't ask Michael, he doesn’t know. The problem of Pain and Gain can be summed up in one sentence: for this type of film to work, it needs to be smarter than its characters. And it's not. The director has no distance, the escalating dementia of everything and everyone excuses the genre of black comedy and the complete imbalance of tone of the popular alibi that reality is "stranger than fiction". But it is not in this form. Everything that is strange and unsettling about this story was melted by Bay in a sweaty muscular goulash, all the dynamics of which lie in the constant movement of the camera and grotesque performances that do not have a shred of integrity in them (just like the entire script). How does one make it so that all the pain brings some gain, other than superficial tabloid entertainment? This equation is beyond Bay's capabilities. (31/07/2013)