Cinematography:
Robrecht HeyvaertComposer:
Lorne BalfeCast:
Will Smith, Martin Lawrence, Paola Nuñez, Jacob Scipio, Kate del Castillo, Vanessa Hudgens, Charles Melton, Alexander Ludwig, Joe Pantoliano, Nicky Jam (more)VOD (4)
Plots(1)
Will Smith and Martin Lawrence reprise their roles as Mike Lowrey (Smith) and Marcus Burnett (Lawrence) in the third instalment of the action comedy trilogy. As Mike and Marcus prepare to start taking things easy as age catches up with them, an old enemy threatens to destroy their peaceful descent into retirement. With Mike assigned to the A.M.M.O department and Marcus now an inspector, they must reunite if they are to defend themselves and their right to retire. The cast also includes Vanessa Hudgens, Alexander Ludwig and Joe Pantoliano. (Sony Pictures Home Entertainment)
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Reviews (15)
An unbelievably pleasant surprise. The directors found a way how to film a high quality nineties action movie with a contemporary feeling and in some places even an innovative camera during the action scenes. I almost have a feeling that this is one of the few comebacks from the nineties which was really great. The story is fine, the action is great and with the performances it got back to time of the first two movies. Will Smith and Martin Lawrence are even after 20 years the same cool guys with great lines that the viewer enjoys a lot. One of the biggest surprises that Hollywood had in store for me in the last few years.
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The ending is like something out of a Mexican telenovela on a (good) trip. The Bad Boys are back for one last escapade, but surprisingly it seems like more of a toned-down version of the first one with emphasis placed on the story. The effective storyline around Mike is brimming with death. Smith really needed this role again, which might well restart his career. And Lawrence will never land a better role. The AMMO team is unexpectedly fine and the chemistry between the old and the new works unexpectedly well. Even the new directors know their stuff. They can’t yet compete with the big boss, but they have style. And Bay’s cameo was also good to see. P.S. Paola Nuñez is awesome.
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I spent a weekend with the whole trilogy and I’m raising my rating of the third instalment to four stars. At the cinema, I was bothered by the cheap digital visuals of the action scenes, which weren’t so noticeable on a large TV screen. The movie lacks Bay’s trademarks and compositional uniqueness, but when we take the third film’s screenplay into consideration, we see that the trademarks and visuals of the preceding films were really the only things that made them interesting. That’s true especially of the second one. Bad Boys for Life has the best screenplay by far, as it tastefully incorporates historical motifs, works cleverly and sympathetically with the characters, including the supporting characters such as the police team leaders and the distinctive bad guys, and even aptly makes fun of itself (“This is some serious telenovela shit!”). And the new, fresh team spirit evokes the beginning of a new Bad Boys era, which I believe will not eventually slip into the realm of retardation like the Fast & Furious franchise. At least as long as Arbi and Fallah are in charge.
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I didn't want to return to this overcooked version of Miami, but the new creators not only torched the pond but the whole series. Adil El Arbi and Bilall Fallah actually made the best installment. It's still doesn't make it too far without an infantile line, and more than one argument between the main duo takes several times longer than a joke should require, but it's still a much better estimate of what the audience can endure, and that level characterizes both the screenplay and the action twists. I also enjoy the main, overused twist, which may come to some as a surprise, but it simply suits my tastes that a seemingly invisible antagonist can suddenly turn into a respectable opponent.
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In its fourth instalment, a gerontic reunion held years later, the iconic buddy-movie series Lethal Weapon set out on the path of a sitcom or television genre show for middle-aged people. With its protagonists a decade older, Bad Boys makes a bee line to the soap-opera genre for seniors. On the one hand, it is fully conscious of that fact, which adds the necessary exaggeration to the film. On the other hand, the exaggerated soap-operatic moments of kitschy melodrama will paradoxically remain in the viewer’s memory longer than the diligently constructed action sequences, which are undermined by the need to digitally insert the aging stars into sequences with physically fit young people.
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