Bad Boring Boys
If you told me that Will Smith’s first major theatrical release after the infamous slap would be this lackluster, I wouldn’t have believed it. Bad Boys: Ride or Die is a tedious and poorly-written film that was an absolute drag to sit through.
The movie picks up after Bad Boys for Life (2020), where the late Captain Conrad Howard (Joe Pantoliano) of the Miami PD is framed by former U.S. Army Ranger James McGrath (Eric Dane) and crew for allegedly colluding with “the cartels” to cover up their own shady dealings. Detectives Mike Lowrey (Will Smith) and Marcus Burnett (Martin Lawrence) are tasked with uncovering the truth and clearing their Captain’s name. But they find themselves fugitives, accused by the very cops they once served. The plot feels all too familiar, lacking any fresh perspective or intrigue to keep me engaged.
It’s a standard buddy cop flick—there’s only so much you can expect within a police procedural. But even then, the script brings it down further, paling in comparison to Smith’s similar work in Bright (2017) and Men in Black. There was so much forced dialogue for comedic effect, but nearly all of it fell flat and contributed fluff. The characters lacked depth and showed little to no development; Smith’s Lowrey struggles with unexplained panic attacks, which neither progress nor influence the plot, while Lawrence’s Burnett is reduced to a simplistic stereotype of a dim-witted, dreamy, and food-loving cop. The villain is similarly one-dimensional—a generic baddie lacking a convincing backstory. Besides being overly predictable from the start, the film was filled with plot conveniences, such as a random escape boat in the middle of the forest and unaccounted civilian deaths directly tied to police actions, which made me less invested in the unfolding events.
I will say that the film’s $100 million budget has been put to good use with its different sets, props, equipment, and technology. It’s evident that top-of-the-line equipment was used for filming, showcasing some novel filmmaking techniques on the big screen, such as gun POV shots, close-ups that looked like they were captured with my phone’s 0.5x lens, and unconventional angled shots. Unfortunately, most of these elements felt out of place. While visually striking, they lacked fluidity and seemed rather sloppy. The constant use of shaky cams didn’t help either.
What makes Ride or Die slightly redeemable, enough to warrant a star, is the pure chemistry between Smith and Lawrence. Despite the weak script, they deliver their roles phenomenally, making the dialogue and even the jokes bearable—especially with Lawrence’s Marcus Burnett. The fight choreography, masterfully enacted by Jacob Scipio, who plays Smith’s character’s son Armando, and Dennis Greene, Burnett’s son-in-law Reggie, earns it another star. Bringing back the OG Bad Boys director Michael Bay and DJ Khaled among others as cameos adds an extra half star.
Judged on its own, Bad Boys: Ride or Die doesn’t hold up as a strong sequel in the Bad Boys franchise, nor does it mark an ideal comeback for Will Smith’s acting career. Was it entertaining? Nope. But a new Jump Street would surely be.
