Mike and Marcus have bounced back after dealing with all the chaos from Mike’s son, Armando, who was a hitman and is now locked up. Mike’s about to get hitched, and of course, Marcus is tagging along like a modern-day sidekick with a big love for fast food. Marcus has this heart attack scare, sees his former captain in a vision, and suddenly thinks he’s invincible — guessing it’s not his time yet. But that doesn’t stop his wife from clearing out all his snacks at home! Later on, during a shootout, we find out Marcus gets panic attacks, which really throws him off his game.

But they’ve got bigger problems: someone’s trashing Captain Howard’s reputation. To solve this mess, they need Armando’s help since he’s the only one who can point out who’s behind it all. Cue jail breaks, gator run-ins, wild chases, and even some kidnappings — it’s another wild ride for Mike and Marcus.

The movie tries to kick things into high gear but sometimes trips over itself with jokes that feel like they’re stuck back in the ’90s. The constant banter between Mike and Marcus aims for cool and funny but lands more like nostalgia that’s seen better days. It’s another classic case of glorifying cops where being an officer is painted in an outdated light.
Picture this: living life on the edge, dodging the law, and jumping into wild adventures that make video game action scenes look tame—there’s even a bit where you see things through the point of view of a gun. The main characters are Black cops who have somehow sorted out any issues between their racial identity and being part of a police force that usually isn’t too kind to their community. Florida’s backdrop only heightens this tension.

In “Bad Boys: Ride or Die,” everything’s turned up to eleven. Sure, these guys drive fancy sports cars and live in incredible homes without any real explanation on how they afford them. They flagrantly break Miami’s traffic rules for personal reasons, sirens off like it’s no big deal. Every aspect of their lives—from those flashy guns to the shiny visuals—is as slick as it gets, with vibrant colors adding extra flair. It’s almost like a two-hour long ad featuring cop life in its most glorious form, with even a nod to the marines when Marcus’ son-in-law pops up as this unbeatable supersoldier.

When the action finally kicks into high gear, the directing duo goes all out with increasingly wild scenes packed with extreme energy and intense camera work that practically somersaults alongside the chaos.

You know how some movies just keep the camera flying around to make things feel super dynamic? This one does exactly that. Instead of crafting fancy choreographed scenes, they rely more on moving the camera quickly to suggest action. Where Michael Bay would maybe pause for dramatic slomo shots in between cuts, this movie just keeps things going nonstop.

Imagine a wild ride with crashing planes, giant alligators munching away, and loads of explosions left and right—it’s like your eyes can’t look away from the screen. Sure, it’s all about making a spectacle happen, but man, it’s too bad because it’s also wrapped up with some pretty lame dialogue and an agenda that’s all about spreading its own message.