Bad Boys Revolution: How Black and Latino Audiences Can Rescue Hollywood!

Approximately two years following the infamous incident where Will Smith slapped Chris Rock at the Oscars, he is now receiving considerable appreciation from cinema enthusiasts and Hollywood elites alike.

The impressive $56-million domestic debut of “Bad Boys: Ride or Die” over the weekend has reignited hope among exhibitors who were previously disheartened by the slow start to the summer movie season. This fourth installment of the franchise, starring Smith and Martin Lawrence, suggests that the audience has left the controversy of Smith’s assault on Rock in the past.

More significantly, the successful launch of the film underlines the influence of Black and Latino moviegoers. This demographic has been traditionally neglected and underrepresented by Hollywood, despite being a major contributor to ticket sales during opening weekends for most high-performing movies.

As per industry experts, 44% of the “Bad Boys” viewership was Black and 26% was Hispanic and Latino. This led to the film having a bigger opening weekend than action flicks such as “The Fall Guy” and “Furiosa: A Mad Max Saga.”

The film received a mixed response from critics, some of whom labeled it as lackluster and uninspired. However, the enthusiastic reception from audiences of color indicates that “Bad Boys: Ride or Die” successfully catered to their cultural needs. The movie effectively balances its black and Latino character-driven narrative with the high-energy elements expected of its genre.

Smith has consistently endeavored to reach these audiences directly by delivering films like “Bad Boys” and “Emancipation” to them, and this dedication is now being reciprocated.

A video featuring Smith’s surprise visit to the Cinemark Baldwin Hills Crenshaw cinema, situated in a predominantly Black and Latino neighborhood in L.A., captured the audience’s laughter and cheers during the movie. The crowd was ecstatic to see Smith in person after the screening, leading to a rush for greetings and photos.

Directors Adil El Arbi and Bilall Fallah, who also directed the preceding film, 2020’s “Bad Boys for Life,” have creatively reinterpreted the popular elements that director Michael Bay introduced in the first two films.

Vocal, argumentative exchanges between Lowery and Burnett? Check. Intense shootouts and high-speed chases? Check. Confrontations with racists? Check. Vibrant neon visuals and stylish outfits? Check. A rendition of the catchy theme song (“Bad boys, bad boys, whatcha gonna do, whatcha gonna do when they come for you”)? Check.

The formula was further spiced up with new elements, including a scene where Lawrence slaps Smith, an obvious nod to the Oscars incident. Audiences also appreciated the expanded role of Reggie, a character introduced in “Bad Boys 2,” who had previously faced interrogation from Lowery and Burnett when he came to take Burnett’s daughter on a date.

Now a Marine and Burnett’s son-in-law, Reggie, portrayed by Dennis McDonald, has a number of standout scenes in the new film, including a sequence where he takes down several intruders at Burnett’s residence.

However, the core strength of “Bad Boys,” which continues to attract audiences, is the chemistry between Smith and Lawrence. Their portrayal of a strong bond between two Black men who manage to work in harmony despite their significant differences is a rare trait in big-budget franchises.

While the industry has been worried about the box office failures of “The Fall Guy” and “Furiosa,” various reasons have been suggested, including last year’s dual strikes, the rise of streaming, and the pressures of opening weekend. Yet, the success of “Bad Boys: Ride or Die” indicates a more critical issue. Hollywood should realize the potential of an audience eager for narratives that highlight and celebrate cultural diversity while also catering to fans of high-budget, crowd-pleasing filmmaking.

The initial “Bad Boys” film was considered a “risk” by producer Jerry Bruckheimer when it premiered in 1995, as it starred two unproven Black actors, Smith and Lawrence, who had previously found success on TV with “The Fresh Prince of Bel-Air” and “Martin” respectively. Nearly 30 years later, Hollywood is still realizing that inclusive, diverse blockbusters are not a risk but a smart business move.

As for Smith, it remains to be seen whether he can still pull in audiences outside of established franchises. Not everyone is pleased, though, as ESPN personality Stephen A. Smith argues that the actor, despite apologizing for his assault on Rock, owes the Black community an explanation and “a conversation.”

For now, Will Smith has managed to thrill numerous movie-goers and industry executives alike.