Michael Bay: A true American.
On the evening of the eleventh anniversary of the September 11 attacks in 2012, a huge group of Islamic militants were angry and upset for obvious reasons and decided to attack the American diplomatic compound, that was, at the time, holding U.S. Ambassador J. Christopher Stevens. However, they didn’t just top there, they soon went onto target a nearby CIA Annex in Benghazi, Libya, which was supposed to be super, duper top secret, but for some reason, got leaked out because of some lookie-loos. And even though they weren’t supposed to get involved in the first place, and told constantly to “stay-put and not leave their post” a bunch of CIA security contractors decide that it’s their time to shine and end this brutality and violence before it gets too late and crazy for anyone to stop it. Issue is, it already is too late and now it’s not only up to these CIA security contractors to risk their lives, but to also ensure that they save the U.S. Ambassador.
And yeah, the rest as they say, is well-known history.
Michael Bay loves the absolute hell out of America. So, it makes sense that he would actually take time out of his busy schedule of robots beating the hell out of one another, oiled-up dudes, and general misogyny, and give us, as he probably likes people calling it, “a heartfelt tribute to the soldiers of Benghazi, as well as those who put their lives on the line for the greater-good of society.” And don’t worry, this isn’t me taking a stance on who is to blame for what happened at Benghazi, nor what could have been done better to prevent anything of that nature from happening at all, because really, the true story is about the soldiers who decided to take-up arms and protect their fellow friends and allies, even if it was absolutely clear that they were out-numbered and most likely, not going to make it out alive.
Which, yes, means that this subject calls for some very overly-patriotic, preachy moments where America’s soldiers look like true heroes, in the midst of all the blood, carnage and chaos – which is what Bay absolutely delivers on. And while this is something we expect from him in an cringe-inducing way, here, it actually works because well, these were real people and they do deserve to have the spotlight shined on them for what it is that they did, regardless of what your political affiliation may be. Even though Bay does make each and everyone of them seem like perfect human beings who have lovely wives, kids, dogs, and personalities, it’s still easy to get past because you remember that, once again, this is a true story and these people were in fact, and still are, real.
At the same time though, being a well-deserved tribute doesn’t mean that your movie is at all “good” – just more thoughtful than usual.
Especially when your name is in fact, Michael Bay.
This is all to say that 13 Hours, despite Bay trying his hardest to put some thought and senselessness into the proceedings, is still a gory, crazy and hyper-violent shoot-em-up, where instead of getting the usual Bay caricatures, we have actual soldiers and Libyans, going toe-to-toe, in a literal battle of whose grenade-launcher is bigger and more effective. In other words, it’s exactly like every other Michael Bay movie, which can tend to mean that there’s a lot of explosions, gun shots, and people dying – none of which we actually get to see in a manner that’s effective or, especially, coherent. However, it isn’t always like this, as the setting-up of what initially went down in Benghazi, although a bit dramatic, is still compelling and, most importantly terrifying.
But then, it all goes away once Bay starts letting stuff explode and be loud for the hell of it. There’s no problem with this, in terms of factual accuracy, as I’m pretty sure this is exactly what happened in Benghazi, but after awhile, it becomes deafening, repetitive, and tiring – none of which Bay probably intended to actually happen, but such is the case when you’re delving out way too much action/violence and not really offering us anything much else. That Bay seems more interested and taken away with the sheer violence of the events, he focuses less on the meaning of it all; this is alright, as we never know whether he’s trying to make a point or not about war being the right means for ending a conflict, but still, it’s not like he’s even trying, either.
Once again, nobody expects substance from Bay, but given the source material he’s working with, you’d expect a tad bit more.
Nothing too much, but just a slight bit.
Still though, it’s not a terrible movie – just a very misguided one that clearly finds Bay wondering which side of him he wants to show. Maybe there’s a more thoughtful, smarter side to Bay that we don’t ever get to see in the loud, bombastic blockbusters he usually puts out, or maybe, he’s just that over-grown man-child who likes to watch things hit one another, go “brash“, then look at boobs, make sexist jokes, and waste the talents of each and every talented actor who was in desperate need of paying the bills in some way, or fashion. Honestly, the later side of Bay is probably the only side of Bay, but after seeing 13 Hours, it’s not hard to imagine that quite possibly, there’s a bit more underneath the surface that’s worth getting somewhat invested, hell, interested in.
Then again, maybe not.
Consensus: While 13 Hours may show Bay trying a bit harder than ever to give this material the right amount of heart and sentiment it deserves, he still falls into the same motions of constant over-the-top and hectic violence, that’s never as compelling or exciting as Bay may want it to be.
4.5 / 10
Photos Courtesy of: Indiewire