Cert – 15, Run-time – 1 hour 55 minutes, Directors – Adil El Arbi, Bilall Fallah
When their former captain (Joe Pantoliano) is accused of assisting the cartel Marcus Burnett (Martin Lawrence) and Mike Lowrey (Will Smith) set out on a trail to clear his name and uncover the real corrupt officials.
Bad Boys is perhaps one of the only 90s-early-2000s franchises where the central characters wouldn’t hold back if told that their humour and attitudes feel outdated. Even Stifler, who remained largely the same in 2012’s American Reunion, would likely be somewhat toned down and told his behaviour needs a shift. When it comes to their humour officers Marcus Burnett (Martin Lawrence) and Mike Lowrey (Will Smith) are very much still in the 90s. The first two instalments of the franchise have had many accusations of misogyny and homophobia, and those elements have certainly been dialled back here as they were in 2020’s tired-feeling Bad Boys For Life.
Yet, the humour of the buddy dynamic – with Smith and Lawrence seemingly in two different films during comedically-focused scenes – frequently feels like it needs a few tweaks just so it feels less stuck in the past, so the characters feel more like their ages. Where the performances flourish and feel more on the same level is during the action and drama based sequences. Moments packed with more energy thanks to the stylish direction of For Life directors Adil El Arbi and Bilall Fallah (credited as Adil and Bilall). Getting across just how much is happening in the scene by matching the fluid nature of the fights and shootouts by moving the camera through them, avoiding an unfocused feel.
The drama takes over from the initial re-establishing of our now-both-family-men-cops once the titular bad boys discover that their late Captain Howard (Joe Pantoliano) has been accused of assisting drug cartels when he was in a position of power. The film leans into the mystery well as the pair set out to clear their former boss’ name and find the real corrupt officials. It’s the initial spark that truly sets things off and brings about an increasingly enjoyable nature to this fourth instalment in now another no-signs-of-slowing-down franchise.
The new burst of style in the ways in which Adil and Bilall capture the proceedings helps to capture the energy that the film needs to truly propel itself. There’s an air of seriousness that the drama needs, while still understanding the entertainment factor needed from a buddy cop movie. This is shown in no better place than the tension of a key set of events set in an abandoned alligator-themed amusement park. A setting that wouldn’t feel out of place in an out-and-out comedy and manages to work here without being questioned once.
Once in the swing of things and bringing in its developments, helped by video clues left by Howard for in the case of his death, it doesn’t take long to fully ease into Bad Boys: Ride Or Die and simply have a good time. Smith and Lawrence, when on the same level, work just as well as you could hope together and really help to push things forward, with help from the supporting cast around them who are put into good effect here. Once away from its struggling opening stages, and brief instances of trying to bring the characters fully up to date with uncertain discussions and experiences of panic attacks, this makes for the best Bad Boys film so far. An enjoyable action flick, with some chuckles in the later stages, where the strengths lie in the consistent action and drama.
While it might struggle on the comedic side, Adil and Bilall bring a new, fluid energy to the action and drama of Bad Boys: Ride Or Die, creating an entertaining action flick with Smith and Lawrence helping to build up the tension and well-handled mystery.
Just A Little Bit Random 