If Underground signifies the filth and dirt and not the root and the grounding of the establishment that storytelling is, then it is way deeper than you can imagine. I had to take a shower after finishing it.
The director, Michael Bay has left me, and probably larger margin of his audience, speechless. There could be everything good with that. There isn’t. It is a big incoherent, incongruent mix of nothing. Completely empty and arrogantly confident for its content. The film ties down snippets of various reels that are meant to be not only entertaining but exhilarating. What we get is too much of everything that has been thrown out in the garbage under the “outdated” section in the past politically correct decade. And too much of something you don’t like is going to horribly infect you to let you trust any other outsourced material. And it is not that “too much” hasn’t worked previously. Take David Leitch, take any Fast And Furious chapter, though it may not offer a perpetual satisfying, innovative ideas on screen or on paper, there is a definite structure. That you can then either like or dislike. But here, Bay doesn’t offer you any final draft for you to point and mock. And maybe that was a deliberate choice. For though the film isn’t scripted, choreographed, edited well Bay hands you over the magical card in its fifth and final act, that you could not have been expecting. And it is that, despite the film builds up towards the identification, intention and involvement of each individual member, Bay fools you smartly on what has been not a card but a coin trick. Not the past but the present. The appearance of that coin from the back of your ear is simple and upright. It is easy. It works, if you want to keep yourself and the magician happy.