Pain & Gain

A similarly absurd spectacle to the Coen brothers' legendary Fargo. It's so bizarre, cynical and aptly ironic, so politically incorrect, so dehumanisingly testoste-packed, that in a perverse sort of way it's impossible not to like it. Moreover, it brutally kicks the ass of the notorious idea of the American dream of a land of unlimited possibilities, where everything can be achieved with diligence and ambition. The tragicomic figures with a dumbbell and a dollar sign for a brain, accurately portrayed by Mark Wahlberg and Dwayne Johnson, were a delight to watch. I’ve never been and I am not a fan of Michael Bay, he’s never known, and still doesn't know, moderation in his films, but here he actually turned this unfortunate trait into something unexpected: his best film. (10.08.2013)

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)

Tony Scott is in God’s truth and so the throne for the king of sexy filtered filmmaking is once again at the disposal of one man. I never expected Michael Bay to confirm his status as a conversational crime comedy even in my wildest dreams, which is mainly due to the brilliantly absurd script, excellent actors, and the director's obvious desire to make something for his own entertainment. This is definitely the best Michael Bay film since... well, since The Rock. (29.08.2013)

I was really looking forward to watching Pain & Gain. Bay made it out of pure love for cinematography. To be able to make this, he signed up for making the fourth Transformers, and he put the Rock and Mark Wahlberg into it. I really like these two, so one beautiful sunny day I decided to go to the cinema, expecting to enjoy nice actors, great action, fun and amusement. And that’s not quite what I got, and I must admit that I keep mulling this over. The actors are not the problem. Mark Wahlberg is as hunky as probably never before, while the Rock is playing what is probably the most distinctive role of his career. The problem lies in the story. There is no one to root for. Everybody in this movie is a bastard. Moreover, this film is full of absolutely brutal dark humor. That wouldn’t be that bad, because I like this type of humor and usually have no problems with it. The problem comes when it begins to brutally cross the line. The line is crossed by the spectacular action, shot with a very decent, even though sometimes rather shaky camera, but also by the humor, which I couldn’t even get in the end. (15.08.2013)

Nun ja, wie wäre denn Ironie, Distanz, Spaß und Schock zu verknüpfen? Fragt Mike doch nicht, er weißt es nicht. Das Problem von Pain and Gain können wir in einem Satz zusammengefassen: Damit ein Film eines ähnlichen Typs funktioniert, muss er schlauer sein als seine Charaktere. Und das ist er nicht. Der Regisseur bewahrt sich gar keine Distanz, die eskalierende Demenz von allem und jedem entschuldigt er mit dem Genre einer schwarzen Komödie und das völlige Ungleichgewicht des Tons mit dem beliebten Alibi, dass die Realität "seltsamer als Fiktion" ist. Aber nicht in dieser Form ist sie´s eben nicht. Alles, was an dieser Geschichte seltsam oder beunruhigend wirkt, hat Bay in einem verschwitzten Muskelgulasch zusammengeschmolzen. Seine ganze Dynamik besteht in der unetwegten Kamerabewegung sowie den mickrigen schauspielerischen Leistungen, die keine Spur an Integrität beinhalten (genauso wie das gesamte Drehbuch). Wie können wir es denn erreichen, dass all der Schmerz irgendeinen anderen Gewinn herbeibringt als oberflächliches Boulevardentertainment? Diese Gleichung geht demnach über die Grenzen der Möglichkeiten Bays hinaus. (31.07.2013)

If you take an hour of untethered action from Bad Boys II and replace it with an even larger portion of infantile entertainment aimed at gut reaction, so typical of Bay, this time presented as “nerds overflowing with clever plans". And although I would prefer to see this story in the hands of the Coen brothers, I can’t deny that in his own guilty pleasure way, Bay shows that he can also be, although not actually funny, at least entertaining. And this is in spite of its length and Marky Mark’s return to Calvin Klein underpants. (08.08.2013)

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)

Bay in his best form. A twisted story about how a bunch of bodybuilders decided to take a path to riches and glory. And God heard their pleads. Pain and Gain are down to earth Bad Boys 2, where reality (the plot is based on a true story) is often more incredible than even the worst Hollywood kitsch. Uncle Mike still shoots popcorn entertainment, this time cheaper, but, well… more entertaining. Mockery of the American dream was never this cruel and satirical. The actors handled their characters excellently, the Rock rules in his role of a dumb religious junkie (it’s a shame that we didn’t see him ride on that skateboard) and Marky Mark as a slick “man with a plan" of the gang definitely gets him some recognition. Ed Harris “merely" enjoys his role of a detective past his prime. The multi-angled storytelling, at some moments giving the viewer insight into the world behind the main characters’ brain curtains, all the way into their muddled thought processes, offers an opportunity to sympathize with each of them, because all of them have valid and very justifiable reason for their actions (hands on the grill). (08.08.2013)

I get the overall message, it's very apt and to the point, but I prefer the good old fashioned and epic Michael Bay with hefty action, camera filters, and two helicopters in the sunset. (27.10.2013)

In Zusammenhang mit Pain & Gain ist oft von schwarzem Humor und verrücktem Spaß die Rede. So etwas habe ich aber nicht bemerkt – und ich mag schwarzen Humor. Ich war sehr neugierig, wie Michael Bay eine Geschichte über Menschen drehen wird, die alles außer ihrem Hirn trainiert haben. Eigentlich ist sie wie gemacht für die Coen-Brüder. Bay hat die Geschichte an und für sich gut aufgenommen, sie hat seinen Stil und seinen Schwung. Leider hielt ich keine Figur für sympathisch, der Humor war ständig dasselbe und der einzige Lichtblick in dem mehr als zweistündigen Film war Ed Harris, der nicht viel Raum bekommen hat… Ich fühlte mich einfach fehl am Platz, wenn etwas passierte, das ich anscheinend lustig finden sollte, was aber nicht der Fall war. Der schlechteste Film von Michael Bay. (09.08.2015)

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)

Bay's answer to the constant questions about why his films, and by extension probably he himself, are xenophobic, stupid, exclusively commercial, Republican, macho, tacky, and incredibly profitable. Because the world is totally screwed. "This is still a true story." (15.09.2013)

If this was any other similar movie, I would have given it only three stars. However, the three-man brain trust from the local gym had their plan so perfectly thought out that they definitely earned the fourth star. The story was so wildly implausible that, when I googled the name Daniel Lugo, my mind was blown. I don’t suppose the relatives of the victims found the movie very funny, but, personally, I had a great time. (29.07.2017)

The movie "Pot a krev" is similar to the character Adrian. He is quite muscular... Well, okay, it's definitely not a rock, but I'm talking about a metaphor. He is a guy who takes steroids to look good and beat up anyone, but in the end, he's not that tough and all those steroids cause him impotence. And that's what the movie is like. It's shiny and sweaty, and ultimately impotent, due to dumb characters and a stretched-out plot. Yes, it can be tolerated, but it doesn't provide a great experience. In the end, it's actually empty and lacks action. The main thing is that all the characters are idiots. However, it is a fact that Wahlberg tries hard and you might even believe that idiot. You can find more information here: http://www.filmovy-denik.cz/2013/09/pot-krev-2013-40.html (08.09.2013)

Much more than a mockery of the fitness life and the degradation of all muscleheads and testosterone enthusiasts to the most primitive level, this "minor" Bay film is a striking parody of America's obsession with religion. The manipulation through the faith aspect is quite obvious here, and it shows in a horrifying way how easily manipulated similarly primitive Yanks are. I loved how Bay parodied himself at certain points (plus I hope you all noticed the Armageddon reference) and how his usually megalomaniacal style was thoughtfully subordinated to the full concept of the film this time, serving "solely" for visual enrichment while in no way interfering with the film's fairly brisk pacing. Bay simply restrained himself in this case, leaving most of the space to the fabulous Wahlberg and taking some scenes to the very edge of absurdity á la Tarantino. A regal entertainment, totally professionally shot, and superbly cast. Sometimes even darkly funny. (22.06.2014)