Something went wrong
Try again later.
Pain and Gain
A trio of bodybuilders in Florida get caught up in an extortion ring and a kidnapping scheme that goes terribly wrong.
13 July 1969, Detroit, Michigan, USA
13 August 1979, Prague, Czech Republic
18 September 1974, New York City, New York, USA
14 February 1980, Fall River, Massachusetts, USA
22 March 1948, Brooklyn, New York, USA
29 April 1985, Nizhniy Tagil, Sverdlovskaya oblast, RSFSR, USSR [now Russia]
8 March 1952, Santurce, Puerto Rico
19 April 1952, Havana, Cuba
June 21, 2016
Maybe he's trying to do 'GoodFellas'-style dark comedy (the copious voice-overs would certainly suggest it), but put as charitably as possible, Bay is no Scorsese.
June 27, 2014
An often hilarious black comedy with a nicely embedded moral.
May 05, 2015
Fargo for jerks.
December 16, 2016
The most shocking thing about the new Michael Bay film is... not the orange, grunting criminals pumping a) iron, b) fists and c) other people, but the gradual realisation that this could be Bay's most intellectual film yet.
April 16, 2016
Bay's worst film to date and the biggest piece of evidence yet in the case against him.
April 26, 2013
Now [Bay] hits new levels of both artistry and sleaziness in the black comedy Pain & Gain, which I strongly recommend if you don't overvalue taste, subtlety, and moral decency. I liked it.
July 14, 2016
Not for the kiddies, this immensely entertaining flick is a hard-R romp through seedy South Florida.
January 03, 2014
Pain & Gain weighs about 700 pounds when it ought to weigh 2.
April 26, 2013
This crude and ugly entertainment is as crass as everything this depressingly successful filmmaker has done.
April 26, 2013
It's official. Michael Bay, director of the Transformers clobberfests, knows how to make movies about humans, too. The problem is, he thinks humans are robots.
May 02, 2013
In between scenes of the muscleheads torturing their victim, Bay indulges his taste for treating women as sluts and grisly brutality as a nifty excuse for a cheap laugh.
August 27, 2013
The first hour may be Bay's career high point: it's fast, freaky, gloriously tasteless and startlingly pointed in its attacks on western insecurity, shallowness and greed.
