Clumsily added secret child aside, 2020’s Bad Boys For Life was a legacy sequel done right. Not even a two-decade layoff could sour the comedic, action-packed magic of arguably Miami’s best duo since Crockett and Tubbs. After a considerably shorter gap between films, detectives Mike Lowery (Will Smith) and Marcus Brunett (Martin Lawrence) return with Bad Boys: Ride or Die.
Ride or Die finds Mike and Marcus on a mission to clear themselves and the late Captain Howard after being falsely implicated in a high-level criminal conspiracy. Despite this well-worn premise and a big flaw, the Bad Boys series has again struck gold.
Smith (as the Fresh Prince) once rapped, “Give me a soft subtle mix…and if it ain’t broke, then don’t try to fix it,” and it’s the main thing that makes Ride or Die work. The Smith and Lawrence tandem is the most apparent product of that motto. The odd couple sticks to the same script they’ve had from day one of the series and continues one of the most believable on-screen partnerships in the action genre.
They intertwine at points, but Smith remains more of the straight man and Lawrence more of the comic relief. Neither has lost a step, as Lawrence is in peak form with his punchlines and physical comedy, while Smith shows no signs of slowing down in carrying the action load.
That continuity also extends behind the camera with Bad Boys For Life helmers Adil & Bilall and writer Chris Bremner (along with series newcomer Will Beall) circling back to the fold. They don’t stray far from the DNA of the previous Bad Boys films. Under their watch, Ride or Die remains a fast-paced buddy cop film throughout its 115-minute runtime with nary a dull moment. It’s a constant seesaw that leads with action but ramps up the comedy just when you think the film is about to slow down. They also do an incredible job with the callbacks to previous films in the series.
Yet, for all its consistency, Ride or Die breaks any monotony with two elements that add fresh energy to the mix. The first is leaning into the Mike and Marcus characters aging and confronting the real-life issues that come along with it. You don’t watch a Bad Boys film for dramatic effect, but Bremner and Beall addressing those matters makes you care more about the duo’s mortality.
The second is Adil & Bilall’s creativity with Ride or Die’s action sequences. While producer Jerry Bruckheimer’s love for the big explosion is ever-present, Adil & Bilall bring some slick camerawork that moves those scenes beyond the action flick of old and to the head of the class in the Bad Boys series. The third act shines in this aspect with a first-person shootout that ranks among the best non-John Wick gun battles in the last couple of years.
Still, despite everything it gets right, Ride or Die goofs on one thing wrong – too many characters. At this point in the series, it’s understandable that Mike and Marcus can’t be the only people in the Bad Boys universe. At the same time, Ride or Die introduces key cogs, such as Mike’s wife and Captain Howard’s daughter and granddaughter, but do nothing with them or the subplots created for them.
Ultimately, Ride or Die is the best Bad Boys film since the 1995 original. It sticks to its tried and true buddy cop recipe while tweaking just enough to allow its characters and the series to grow, which makes it an absolute must-see. There is no need to check this one out in a premium format unless the sound carries weight for you.
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