The 2024 installment in the Bad Boys franchise, Bad Boys: Ride or Die, offers both the explosive action and the comedic banter fans have come to expect from Will Smith and Martin Lawrence’s iconic duo. However, this latest chapter struggles to strike the right balance between nostalgic elements and fresh storytelling, making it a somewhat uneven addition to the series.
From the outset, Ride or Die retains much of the signature blend of over-the-top action and chemistry between Smith’s Mike Lowrey and Lawrence’s Marcus Burnett. The film sees the two Miami detectives taking on a new adversary, a corrupt politician named Lockwood, who poses a multifaceted threat both to the city and Mike’s personal life. Lockwood is romantically involved with Mike’s ex, who also happens to be the police captain. This mix of personal stakes and systemic corruption forms the backbone of the narrative, giving the characters room to grow while delivering thrilling action scenes.
The plot itself oscillates between high-octane moments, including a standout helicopter sequence and a showdown at a gator farm, and slower, more intimate interactions that explore Mike and Marcus’s evolving relationship. These action set-pieces, enhanced by the kinetic direction of Adil El Arbi and Bilall Fallah, stand out visually. The directors continue their penchant for incorporating drone photography to heighten the intensity, using sweeping aerial shots that give the film a sense of motion and chaos. Yet, while the visuals remain impressive, the story’s pacing occasionally falters. The film is shorter than its predecessor, Bad Boys for Life, but it feels longer due to the disjointed flow, a result of inconsistent tonal shifts and underdeveloped subplots.
A notable aspect of Ride or Die is its attempt to inject more serious thematic elements into the script. Screenwriters Chris Bremner and Will Beall introduce ideas around corruption, systemic failings, and even trauma, particularly through the backstory of its villain, who is portrayed as a radicalized figure. Yet these heavier concepts often feel surface-level, as the film quickly shifts back to its more lighthearted action-comedy roots without fully exploring the potential depth of these themes. While fans may not come to a Bad Boys movie expecting deep social commentary, the inclusion of these elements feels like a missed opportunity for the franchise to evolve beyond its well-worn formula.
Smith and Lawrence continue to exhibit the magnetic chemistry that has been the backbone of the franchise since its inception. However, the magic between the two feels somewhat diminished compared to Bad Boys for Life. While their banter remains a highlight, many of the jokes in the first half fall flat, and the emotional beats lack the punch that made the 2020 film such a surprising success. Part of this issue stems from the fact that the characters themselves are now grappling with their age and legacy, a theme that has the potential to resonate but is overshadowed by the demands of the action sequences. The film flirts with the idea of passing the torch to a younger generation, particularly with the inclusion of characters like Vanessa Hudgens and Alexander Ludwig’s Kelly and Dorn, who return from the previous film. However, this potential shift never fully materializes, leaving the future of the franchise somewhat ambiguous.
Supporting performances in Ride or Die are a mixed bag. Vanessa Hudgens and Alexander Ludwig continue to add energy to their roles as younger members of the team, but their characters are underutilized. The same can be said for Paola Núñez, whose role as Captain Rita Secada is central to the plot but lacks the depth needed to make her dynamic with Mike truly compelling. Newcomers like Ioan Gruffudd and Rhea Seehorn are welcome additions, but much of the ensemble cast feels overcrowded, resulting in several underdeveloped subplots that detract from the film’s focus.
One of the film’s more problematic aspects is its handling of its female characters, particularly when it comes to their roles within the narrative. Several moments in the film feel like they are regurgitating tired action movie tropes, including the damsel-in-distress angle that surfaces during key moments. This lack of innovation in storytelling may frustrate viewers hoping for a more modern take on the genre.
The action choreography, while still entertaining, feels somewhat restrained when compared to the sheer intensity of similar films in the genre. While it is clear that Smith and Lawrence may no longer be in their prime as action stars, the direction smartly compensates by focusing on flashy set-pieces rather than intricate fight choreography. The final act, set in a Florida gator farm, is among the film’s most enjoyable sequences, thanks to the absurdity of its setting and the fast-paced direction. However, it is also a moment that exemplifies the film’s occasional disregard for narrative coherence, with characters pulling off feats of strength and endurance that defy logic.
Despite its flaws, Bad Boys: Ride or Die delivers enough thrills to satisfy longtime fans of the franchise. The film’s biggest strength remains the relationship between its two leads, and for many, seeing Mike and Marcus back in action will be enough. The decision to stick to a familiar formula, while financially safe, ultimately limits the film’s potential to push the boundaries of what a Bad Boys movie could be. In this way, Ride or Die feels more like a victory lap for a beloved franchise than a bold new chapter.
The decision to bring back directors Adil and Bilall, who rejuvenated the series with Bad Boys for Life, was a logical one, but their approach in this latest outing lacks the freshness that made the 2020 film such a hit. The filmmakers are clearly aware of what fans expect from a Bad Boys movie, and they deliver on those expectations. Yet, in playing it safe, they risk losing the edge that has always defined the series.
The film’s visual style, including its use of drone shots and fast-paced editing, helps maintain a sense of energy throughout, even when the narrative begins to sag. The soundtrack, a blend of hip-hop and orchestral swells, complements the action and lends the film a sense of grandeur that befits its blockbuster status.
At its core, Bad Boys: Ride or Die is a film that knows its audience. It doesn’t seek to reinvent the wheel, but rather to remind viewers of why they fell in love with the franchise in the first place. In doing so, it provides an entertaining if not groundbreaking entry into the action-comedy genre. For those looking for a nostalgia-filled ride with their favorite Miami detectives, this latest installment delivers just enough to keep the franchise rolling. However, as the series continues to evolve, one has to wonder how much longer the Bad Boys formula can sustain itself without taking more risks and embracing the changes that come with time.
