Explosive Action Unleashed in ‘Bad Boys: Ride or Die’ – You Won’t Believe What Happens Next!

Releasing their first movie in 1995, the “Bad Boys” franchise is now moving into the realm of aging action stars. “Bad Boys: Ride or Die,” the fourth movie in the series, is helmed by the rising action film directors Adil El Arbi and Bilall Fallah, also known as Adil & Bilall. They took the directorial reins from Michael Bay for “Bad Boys for Life,” released in 2020.

There appear to be two paths for an aging action star or franchise. One, follow Tom Cruise’s example, revisiting an original script full of stunts and sensations and adding a touch of soulful regret as the protagonist (and the actor) contemplates the sacrifices made in the name of thrill-seeking (think “Top Gun: Maverick”). Alternatively, they could join the cynical, money-driven ensemble exemplified by the “Expendables” series, where popular actors tease and compete for monetary gain.

However, the “Bad Boys” franchise seems to stick to its roots. Stars Will Smith, Martin Lawrence, and producer Jerry Bruckheimer have no intention of tampering with the formula that has brought them success. Smith, despite a tumultuous public life in recent years, seems ageless and undisturbed in his role as Miami detective Mike Lowery, effortlessly returning to his character in this installment. It is surprisingly normal to see him back in this role.

Adil & Bilall work within the parameters set by the earlier films – the Miami backdrop, the character profiles established by Smith and Lawrence, and Bay’s unique visual style – and build upon it. They respectfully emulate Bay’s distinctive style, mimicking his constantly moving camera, low Dutch angles, and the iconic “Bad Boys shot,” where the camera circles around Smith and Lawrence as they rise into frame, gazing into the horizon. They use the “Bad Boys” blueprint as a coloring book, enhancing it with their own artistic experiments.

“Bad Boys: Ride or Die” is a testament to action autonomy, incorporating modern technology like drones and integrating elements of video game language into the film. Bay himself employed drones with his unique flair in his 2022 film “Ambulance,” but Adil & Bilall use their drones to track people and movement in space and explore indoor landscapes.

They also employ fast-paced, alternating first-person-shooter-style POV shots during the gunfights, which, although not always cinematically logical, are easily understood by the average gamer. Their stylistic experimentation is permissible due to the familiarity of “Bad Boys” – and, as used in “Ride or Die,” it’s essentially routine.

Screenwriters Chris Bremner and Will Beall provide a storyline that is broad but lacks depth. There are plenty of plot twists and an abundance of characters, even if their development is somewhat lacking. This tangled tale involves the bad boys’ deceased Captain Howard (Joe Pantoliano), who is posthumously accused of corruption and allegedly sharing information with drug cartels. Police partners Marcus (Lawrence) and Mike (Smith) attempt to clear his name, but find themselves at odds with Howard’s U.S. Marshal daughter Judy (Rhea Seehorn), who seeks revenge, and their colleague Rita (Paola Nuñez), who has filed the charges through her attorney-turned-mayoral candidate fiancé Lockwood (Ioan Gruffud). Their only hope of identifying the true villain is Mike’s drug-dealer son Armando (Jacob Scipio), who has been jailed for the havoc caused in “For Life.”

In the meantime, our protagonists are confronting their mortality and PTSD. After a near-death experience at Mike’s wedding, Marcus experiences a spiritual awakening, feeling invincible, euphoric, and conversing about his past lives. Mike, however, is dealing with anxiety as a newly married man and a “new” father.

But this merely sets the stage for the filmmakers to experiment and for Lawrence to indulge in his humor. His performance is garish, but there’s something about him that simply wears you down after two hours – one simply has to surrender to his comedic antics. The first half of the film is overly focused on Marcus’ sugar addiction. During a shooting scene in an interactive art gallery, he takes a single sip of fruit punch and reacts as if he has just had a hit of crystal meth. This motif is quickly replaced by other equally farcical elements, such as an encounter with a redneck militia, a reference to their infiltration of the Klan in the second film, and a detour to a strip club, where they cross paths with Tiffany Haddish.

“Bad Boys: Ride or Die” struggles to establish its own tone, but then again, the franchise has always straddled the line between being silly and serious, balancing between Lawrence and Smith. Despite the co-directors’ cinematic experimentation and some notably brutal fight scenes (thanks to the younger actors), this installment leans towards the silly. It is a thin tapestry of lore with some intriguing creative flourishes, but without any real character development, it feels insubstantial and disposable. There are worse options, but there are certainly better ones, too.

Katie Walsh is a Tribune News Service film critic.