Mike and Marcus are back on their feet after dealing with the hitman, Armando, who happens to be Mike’s son and is now locked up. Things take a fun turn because Mike’s about to get married. Marcus sticks by him like always, enjoying his snacks like crazy. But then, surprise! Marcus has a heart attack and sees a vision of Captain Howard that convinces him he’s immortal since it’s not his time yet. Even so, his wife throws out all the junk food from the house.

Marcus confesses later he’s having panic attacks after being caught in a shootout—a bit of a problem for him as he’s losing his edge. The bigger issue? Someone’s messing with Captain Howard’s reputation. To figure it out, they need Armando’s help—he’s the only one who can point fingers at the culprit.

What follows is another wild adventure full of jailbreaks, alligators, car chases, and kidnappings for our favorite duo!

Before all that action kicks off though, some parts feel pretty awkward with jokes that seem stuck in the 90s—might make you cringe more than giggle if I’m honest. These two try to play it cool while being funny but end up feeling outdated instead—it kind of bums you out rather than cheers you up.

Once again we find ourselves stuck in the whole “copaganda” thing where being a cop…
In “Bad Boys: Ride or Die,” it’s all about living big and bending the rules. The characters dive into some wild, adrenaline-pumping stunts that make video games look tame, even giving a nod to first-person shooter games with a cool scene shot from a gun’s perspective. You’ve got these Black heroes who have somehow sorted out any identity clashes with being part of a not-so-gentle police force—a mix made even more intense by the Florida setting.

Everything in this movie is over-the-top as usual, just without any self-awareness poking at all this craziness. These guys drive flashy cars and live in insanely nice houses—and seriously, who knows how they afford it? They zoom around Miami like traffic laws don’t exist, not even bothering with their siren for personal stuff. Every part of their world, especially the way they handle guns, looks super slick with bright colors and glossy shots. It’s like a nearly two-hour glam commercial hyping up not just cops but also marines—there’s even a twist where Marcus’s son-in-law turns out to be this killer supersoldier.

When things finally kick into high gear, the directors keep throwing in one extreme action scene after another. The camera work is absolutely bonkers, doing all kinds of crazy moves right alongside them!
In this movie, there’s a lot of fancy camera work to keep the action exciting. It’s usually easier and cheaper to move the camera around than to plan out a big choreography. So, you get hints of all the big action rather than seeing every detail played out. Unlike Michael Bay, who loved shaking things up with quick cuts and slow-mo moments for those iconic shots, this film barely slows down at all. It’s less about creating iconic images and more about keeping everything in motion.

You’ll see wild stuff—like planes crashing, huge alligators snapping at things, and endless explosions lighting up the screen. It keeps your eyes glued to all the chaos unfolding with its relentless spectacle. Unfortunately, all that energy is used on a script filled with dull dialogues and an obvious agenda pushing through the storylines.