One (Ryan Reynolds) is a billionaire who decided he wanted to change the future. So he faked his own death, created a team of nameless, untraceable agents and has set out to stage a coup in the fictional Middle Eastern dictatorship of Turgistan. 

One’s team consists of six agents with special skills recruited by him as ghosts. All of them are officially dead with no ties to the world. We have a CIA spook (Melanie Laurent), a hit-man (Manuel Garcia-Rulfo), a free runner (Ben Hardy), a doctor (Adria Arjona), a driver (Dave Franco) and a sniper (Corey Hawkins). Most of whom get a small bit of back story and something to do in the action scenes with perhaps the exception of Adria Arjona’s doctor. 

Opening with the fall out of a mission gone wrong in Italy we are treated to a twenty minute long bombastic car chase. Starting as it means to go on it is filled with intricate stunt work and absolute mayhem. Cars explode, flip and get cut in half as faceless henchmen die violently. All shot in glorious sunshine in picturesque Florence. 

As the film goes on there are plenty more impressive action sequences in amongst its ridiculously simplified version of American regime change being a force for good. 

6 Underground is simultaneously amazing and awful. It features some of the most beautifully shot, inventive and carnage filled action sequences and yet is ruined by director Michael Bay’s worst instincts. So expect an over use of slow motion, a lot of choppy cutting in action sequences, women in tight dresses and underwear and a bloated running time (128 minutes). The script and plot is also tone deaf. Ignore the stereotypical dictator, commentary on American regime change and even the fact that a tech billionaire has so much covert information and training. But you still have it hit you over the head over and over with the fact that they can achieve more as ghosts than real people, but that really being a team is what will get them through. 

But you know what, focus on how technically stunning and inventive those action sequences are. The excitement of a camera attached to a free runner, the carnage of a car flipping multiple times in slow motion. Ignore the tone deaf story and crass Michael Bay ass shots of women in tight clothes and focus more on Ryan Reynolds doing the same smart ass shtick he does in every film and it’s pretty fun.