There’s a particular strain of urban dread that thrived in the flickering cathode ray glow of the late 80s and early 90s, a paranoia born from the concrete canyons and the chilling anonymity of city life. It whispers that the systems meant to protect you, the uniforms you trust, might be the very source of the nightmare. Few tapped into this vein quite like Larry Cohen, and 1990’s The Ambulance is a prime example – a siren song of suspense that plays on the primal fear of helplessness when help itself becomes the predator.
A Scream on the Street
The premise hits with the blunt force trauma Cohen often favoured: Josh Baker (Eric Roberts), a sharp-tongued aspiring comic book artist working for Marvel Comics, witnesses a beautiful woman named Cheryl (Megan Gallagher) collapse on a New York City street. An old, slightly ominous-looking ambulance arrives, scoops her up, and vanishes. When Josh tries to check on her later, he discovers she never arrived at any hospital. No record exists. It’s as if the ambulance, and Cheryl, simply evaporated into the city smog. This is the spark that ignites a frantic, obsessive search, pulling Josh deeper into a conspiracy where the healers are horrifyingly twisted, and every siren wail could signal doom. This isn't just a The Ambulance 1990 review; it's a descent into a specific kind of everyday terror Cohen excelled at crafting.
Cohen's Concrete Jungle Gym
Larry Cohen, the maverick mind behind cult classics like It's Alive (1974) and Q: The Winged Serpent (1982), brings his signature style to bear. Shot gritty and immediate on the streets of New York, the film pulses with authentic urban energy. You can almost smell the exhaust fumes and feel the pavement vibrating underfoot. Cohen famously thrived on low budgets and guerilla tactics, often integrating real city life seamlessly (and sometimes without permits) into his narratives. While perhaps slightly more polished than some of his earlier work, The Ambulance retains that raw, unpredictable feel. The city isn't just a backdrop; it's an accomplice, its labyrinthine streets and indifferent crowds swallowing victims whole. Cohen reportedly got the idea after his own wife had a less-than-ideal experience with paramedics, twisting that real-life anxiety into this high-concept thriller premise, apparently writing the script in just a few days. That urgency translates effectively to the screen.
Manic Energy vs. Gravelly Authority
At the heart of the escalating panic is Eric Roberts. Riding a wave of intense, often volatile screen presence through the 80s and 90s, Roberts channels that energy perfectly into Josh Baker. He’s not a traditional hero; he’s impulsive, fast-talking, and borderline obsessive, traits that make him both frustrating and compelling. His desperate attempts to convince anyone – the police, hospital staff, even his own editor at Marvel (played in a delightful cameo by Marvel Comics legend Stan Lee himself!) – feel genuinely frantic. You believe his mounting terror because Roberts sells it with a commitment that borders on unhinged. It’s a performance that perfectly suits the film's heightened reality.
Counterbalancing Roberts' near-hysteria is the immense gravitas of James Earl Jones as Lieutenant Spencer. Jones brings instant authority and weary skepticism to the role of the veteran cop who initially dismisses Josh's wild claims. Their scenes together crackle – the desperate civilian versus the seen-it-all detective. Jones's presence elevates the material, lending credibility to the increasingly outlandish plot. His eventual shift from disbelief to dawning realization provides some of the film's most satisfying moments. Look out too for a surprisingly effective turn from veteran comedian Red Buttons as a disgruntled former hospital employee who holds a piece of the puzzle – casting that feels both unexpected and perfectly Cohen-esque.
That Ominous Vehicle
Let's talk about the titular vehicle. It’s not just transport; it’s the monster. Its appearances are heralded by dread, its purpose perverted. While perhaps not as visually iconic as Christine's Fury, there’s a low-fi menace to this slightly outdated, boxy ambulance cruising the streets. It represents the violation of trust, the corruption of care. The film doesn't rely on elaborate gore (though there are tense moments); its horror is largely psychological, rooted in the terrifying idea of what's happening inside that vehicle and the shadowy organisation behind it. I distinctly remember seeing the VHS box art for The Ambulance back in the day – that stark image of the ambulance against the city skyline lodged itself in my brain, promising exactly this kind of urban nightmare fuel. It delivered.
The tension ratchets nicely, playing on classic thriller tropes – the protagonist nobody believes, the race against time, the shadowy figures always one step ahead. While some plot logic might wobble under intense scrutiny (a common trait in Cohen's fast-and-loose style), the sheer momentum and Roberts' relentless drive keep you hooked. Doesn't that core concept still feel unnerving – the idea that the very symbol of emergency aid could be a trap?
A Cult Classic Check-Up
The Ambulance wasn't a box office smash, reportedly made for around $2 million, but it found its audience on home video, becoming a solid slice of early 90s cult cinema. It embodies Cohen's knack for wringing maximum suspense from minimal resources and a killer high concept. It’s a tight, effective thriller that understands the power of suggestion and the inherent creepiness lurking beneath the surface of everyday life.
Rating: 7/10
The score reflects a genuinely tense and well-executed thriller with a fantastic central premise and strong lead performances, particularly from Eric Roberts and James Earl Jones. Larry Cohen's direction captures a palpable sense of urban paranoia. It loses a point or two for some predictable plot beats and moments where the budget constraints peek through, but its core concept remains chillingly effective. It might not be high art, but it's prime VHS-era comfort food for thriller fans – a shot of adrenaline straight from the gritty streets of yesteryear.
For fans of Cohen's unique brand of urban horror or anyone nostalgic for those slightly grimy, high-concept thrillers that packed video store shelves, The Ambulance is a siren call worth answering. Just maybe check the hospital destination beforehand.