Mike and Marcus are back in action after taking down a hitman and dealing with Mike’s son, Armando, who’s now behind bars. Mike’s gearing up to get married, and, as always, Marcus is by his side, his loyal sidekick, snacking on junk food at every chance he gets. But when Marcus has a heart attack, he sees Captain Howard in a vision and decides he’s got superpowers because it’s not his time yet. That doesn’t stop his wife from clearing out all the snacks at home though.

Things get shaky for Marcus during a shootout where he starts having panic attacks that mess up his mojo. But their real trouble is something else: someone’s trashing Captain Howard’s legacy. To fix this mess, they need help from Armando since he’s the only one who knows who’s behind it all. So with some jailbreaks and gators on their tail, plus wild chases and kidnappings thrown into the mix, Mike and Marcus dive headfirst into another over-the-top adventure.

Before the action kicks in though, the movie kinda stumbles with jokes that are stuck in the ’90s nostalgia zone—stuff that’s meant to be cheeky might just make you cringe. The constant back-and-forth banter between them aims for tough-guy charm but ends up feeling dated, more like a downer than fun times.

Once again, we’ve got ourselves wrapped up in another round of cop stories glorifying police work like it’s something way more heroic than reality ever shows.
In “Bad Boys: Ride or Die,” it’s all about living large and breaking a few rules along the way. The movie’s packed with action scenes that could outdo any first-person shooter game, even giving you glimpses through the eyes of a gun—sounds wild, right? And here’s something interesting: the main characters are Black cops who’ve somehow navigated being part of a police force that’s not exactly known for going easy on folks like them. With a Florida backdrop, that adds an extra layer of complexity to things.

The film doesn’t hold back—everything’s turned up to eleven, from sporty cars to their amazing houses. You gotta wonder how they can afford all this stuff while ignoring Miami’s traffic laws like nobody’s business. It’s like they’re living in one long, glossy action sequence where even firing guns looks cool with those vibrant colors and flashy visuals.

It’s almost reminiscent of a two-hour-long commercial boasting about the brilliance of being in the police force and even tossing in some kudos to the marines. Marcus’ son-in-law shows he’s got serious skills as some kind of unstoppable super-soldier—no joke.

Once the action kicks into gear, it just keeps escalating with crazier and more intense situations. The directors go all out with dizzying camera flips and tricks that ramp up the excitement every step of the way.
The camera sure knows how to keep things lively in this one. Instead of crafting elaborate choreographed scenes, they decided it’s way easier and cheaper just to move the camera around a lot. It’s almost like they’re hinting at action rather than actually showing it. Remember how Michael Bay used quick cuts but also loved those slow-mo shots? This movie kind of skips the iconic image moments and keeps everything moving non-stop.

It’s a whirlwind with planes crashing, giant alligators chomping down on stuff, and explosions going off everywhere you look—definitely easy on the eyes if you’re into big spectacles on screen. It’s just too bad that all that flash is paired with such dull dialogue and a bit of an agenda behind it all.