Mike and Marcus have bounced back after the whole hitman fiasco with Mike’s son, Armando, who’s now in jail. Mike’s about to get married, and Marcus is tagging along like a modern-day Sancho Panza who can’t say no to junk food. But then Marcus gets hit by a heart attack, and after seeing Captain Howard in a vision, he starts thinking he’s invincible since his time isn’t up yet. His wife doesn’t buy it though, so she clears their place of all the snacks. Marcus also deals with panic attacks after a shootout which really messes with his game.

The real problem? Someone’s dragging Captain Howard’s name through the mud. They need Armando’s help to figure out who’s behind it since he’s the only one who can ID them. So they dive headfirst into this wild adventure full of breakouts and gator encounters, car chases and kidnappings.

This is the fourth movie in the series that started with Michael Bay way back in 1995 and now handed over to directors Adil El Arbi & Bilall Fallah for Bad Boys: Ride or Die. They keep things flashy but bring their own questionable kind of humor.

Before the action kicks into gear, though, the movie hangs around this awkward spot where jokes don’t quite land—the kind that only folks stuck in the ’90s might still laugh at. Mike and Marcus banter back and forth trying real hard to be both tough guys and friendly jokers, but it’s not always smooth sailing.

Okay, so imagine a movie that’s all about cops living life like they’re in a nonstop action video game. In Bad Boys: Ride or Die, these detectives seem to have it all—flashy cars, huge houses, the works. You can’t help but wonder how they’re pulling it off on a cop’s salary. It’s one of those movies that makes being a cop look like the ultimate thrill, with them bending every rule and still looking cool doing it.

The film is set in Florida, which should highlight some racial tensions, especially since the main characters are Black cops in a police force known for its issues. But somehow, these guys seem to cruise past those realities as if everything’s smooth sailing.

Everything in this movie is over the top—car chases, gunfights, all shot to look massive with bright colors and sharp visuals. Even when they’re supposed to be on the job, enforcing laws, it feels like they’re just doing their own thing, totally unbothered by anyone watching.Oh, and there’s even a nod to marines through one character’s family connections.

All said and done, it basically feels like a two-hour-long ad pumping up the police force while ignoring real-world problems.
Okay, so this movie’s got a ton of action with our main guy being revealed as this super-deadly soldier. Once things kick off, the duo in charge really goes all out with crazy and intense scenes. They’re swinging the camera around like it’s doing backflips just to keep everything looking exciting.

It’s way easier and cheaper to move the camera like that than to choreograph complicated stunts, so they show more than actually playing out each scene in detail. If you’ve seen Michael Bay stuff before, you know he does a lot of quick cuts but also gives some slow-mo time on occasion to catch your breath. Here, it’s mostly go-go-go all the time! The focus isn’t really on creating iconic images, but more on keeping everything in motion.

You’ll see planes crashing, giant alligators snapping at everything, along with non-stop explosions filling up the screen. It’s definitely a spectacle for your eyes! Too bad the story doesn’t match up with cringy dialogues and an agenda that’s too obvious.