Take this Which 6 Underground Movie Character Are You quiz to find out. We update the quiz regularly and it’s the most accurate among the other quizzes.
Netflix’s action blockbuster “6 Underground,” with its makeshift family, high-speed car chases, and sophisticated heists, is confirmation that Michael Bay would love to helm a “Mission: Impossible” or “Fast and Furious” film. It also explains why that would be a bad idea.
Bay deserves credit for creating a film that is unmistakably his. Anyone who has seen the “Bad Boys” or “Transformers” franchises will recognize this as a Bay production after only approximately five minutes. There are the obligatory glimpses of gorgeous women from the ground, gags that even the writers would probably say are bad taste, hyper-kinetic cuts to pop/rock tracks, and nothing that approaches human feeling or real-world physics.
And, for a time, notably during the film’s lengthy opening car chase around Florence, the Bay-ness of it all is kind of engaging. The opening sequence’s craziness is almost stunning in its insanity, critics are damned. As Dave Franco’s getaway driver rushes across the city, he nearly runs over a pregnant woman, a couple of lovely pets, and even some nuns, who subsequently flip him off.
Which 6 Underground Movie Character Are You?
There’s a sense that Bay and writers Paul Wernick and Rhett Reese (who co-wrote the “Deadpool” films) are welcoming the hyperactive action fan who’s tired of Oscar fare like “Marriage Story” and “The Irishman,” and saying, “We know this is dumb fun, but let’s just put logic aside for a couple of hours.” Turn off your thoughts and just enjoy it.” Unfortunately, as the ragtag bunch at the core of the film discovers, even the best-laid schemes can be difficult to carry out. Also, you must try to play this Which 6 Underground Movie Character Are You quiz.
“6 Underground” is about an eccentric billionaire (Ryan Reynolds) who faked his own death to go underground and head a squad of similar mercenaries, people who can go off the grid to execute the duties that world governments refuse to do. Of a film that plainly aspires to be the first in a series, their mission is nothing short of a military coup, deposing the cruel leader of the fictional country of Turkistan and replacing him with his more tranquil brother. To accomplish so, dozens of people will be murdered in high-powered action scenes that are faintly evocative of what Bay has done in films like “Bad Boys II” and “Transformers” (he even gets a chance to use the robot sound in his climax). Just know that nothing is straightforward, that there will be explosions, and that the body count will exceed three digits.
About the quiz
The team, known only by their numbers—Reynolds is #1—also includes a deadly CIA spook (the film’s best performer by far in Melanie Laurent, who can bring depth even to something like this and I would totally watch in a spin-off series), a wisecracking hitman (Manuel Garcia-Rulfo), a sky-jumping kid who is introduced running down the outside of the Duomo (Ben Hardy), a former (Adria Arjona). Payman Maadi (“A Separation”), an excellent Iranian actor, plays the brother whom the team must infiltrate and install in power.
If you’re wondering how “6 Underground” addresses Middle Eastern issues, know that it does so with the grace of a runaway truck. Turgistan’s sequences, notably one early in the film in which children are bombed in a chemical warfare attack and one late in the film that is meant to symbolize the Arab Spring, are badly performed at best and blatantly exploitative at worst. One almost wishes for a gigantic robot to drag Bay and team away from topics that, arguably, should not be utilized for B-movie action fodder, or at the very least, should not be in a film that pushes the bounds of ludicrous action choreography.
It’s one thing to witness Reynolds concerned that his driver may run over an Italian dog; it’s quite another to see children bombarded in a refugee camp. I don’t think the creators of “6 Underground” understand the distinction. And the notion that this film is tonally catastrophic grows, particularly as the first thrill of stylized action becomes numbing rather than amusing, and the film continues to flirt with real-world concerns it doesn’t comprehend.