Mike and Marcus have bounced back after dealing with the hitman—and Mike’s son—Armando, who’s now locked up. Mike’s getting ready to tie the knot, and like always, Marcus is by his side, much like a modern-day Sancho Panza with a love for junk food. But when Marcus has a heart attack, he starts seeing visions of Captain Howard. He decides he’s invincible since it’s not his time yet. Of course, this doesn’t stop his wife from clearing out all the snacks at home.

Meanwhile, after ending up in a shootout, Marcus finds himself struggling with panic attacks that make it hard for him to be effective at work. Yet their real issue lies elsewhere: someone’s tarnishing the memory of Captain Howard. To find out who’s behind it all, they need Armando’s help because he can identify the culprit.

And so begins another epic adventure for Mike and Marcus filled with jailbreaks, gators, wild chases, and kidnappings.

The movie fumbles around at first with awkward jokes straight out of the ’90s meant for folks who aren’t too picky about humor. Their constant banter comes off as trying too hard to be both tough-guy cool and funny but lands flat sometimes in today’s world—it might even bring more gloom than laughs at points.

Once again though, we’re talking about one major case of “copaganda”: where being a cop means…
In “Bad Boys: Ride or Die,” you get to see life on the edge. The main characters don’t care too much about the law, diving headfirst into thrilling and chaotic action scenes. There’s even a part where they play with first-person shooter vibes, like when you see things from a gun’s point of view. What’s interesting here is you have these Black cops who seem totally okay with their roles, despite the rough history between their race and law enforcement — especially in a place like Florida.

Everything about this movie is over-the-top, just like past Bad Boys films. But don’t expect any self-awareness or winking at how crazy it all is. These guys have crazy expensive cars and houses that make you wonder how they afford them. They break Miami’s traffic laws without batting an eye — no sirens needed! Nearly every part of their lives, right down to using guns, looks super polished with bright colors and slick scenes. It feels more like a long commercial showcasing the glamour of being police officers—and there’s even a shoutout to the Marines when Marcus’s son-in-law pops up as a tough-as-nails soldier.

Once the action really kicks off, the directors just keep piling on more wild and fast-paced scenarios, with cameras spinning around making everything feel high-energy and extreme!
There’s tons of camera swooping to make everything feel super dynamic. It’s like, instead of doing crazy choreography, they just move the camera around a lot. Kinda cheaper and easier that way, right? Unlike Michael Bay, who loves his quick cuts and slow-mo moments to freeze the action a bit, this one just keeps everything moving non-stop. It’s like they’re not trying to give you those unforgettable shots but more about keeping things in motion.

You get this whirlwind of stuff going on—planes crashing down, giant gators snapping at things, and explosions everywhere. Honestly, it’s pretty wild to watch because there’s always something happening on screen. The spectacle is definitely there; it’s just a bummer that it’s all riding on a script with such sad dialogues and propaganda vibes.