Mike and Marcus are finally over the chaos caused by Armando, Mike’s hitman son who’s now behind bars. Mike’s about to get hitched, and Marcus is his buddy tagging along, kinda like a modern-day Sancho Panza who can’t resist junk food. But when Marcus has a heart attack, he sees Captain Howard in a vision and comes out thinking he’s unbreakable because it’s just not his time yet. His wife, though? She’s not having it—bye-bye snacks!

Marcus also starts having panic attacks after some big shootout. Those don’t exactly help him stay sharp on the job. The real deal for these guys, though? Someone’s messing with Captain Howard’s good name. To figure out who’s behind this mess, they need Armando’s help since he’s the only one who can clue them in on the culprit.

So off they go into another wild adventure full of jailbreaks, gators, chases—you name it! Before things heat up action-wise, the film kinda trips over itself with jokes that feel stuck in the ’90s—real “cringe” territory if you ask me. The nonstop banter between Mike and Marcus tries hard to be edgy and funny but ends up feeling old school in a way that’s more sad than entertaining.

Basically, we’re seeing more of that classic “copaganda,” where being a cop seems to mean something else entirely…
In “Bad Boys: Ride or Die,” it’s all about living large and bending the rules for some high-stakes action. It’s intense like a video game—you even get this wild scene shot from the viewpoint of a gun. Pretty crazy, right? Plus, you’ve got Black leads who seem to have cracked the code on straddling racial identity while being part of a no-nonsense police force—a tricky mix, especially in Florida.

Everything is super over-the-top in this flick, but there’s no wink or nod at how wild it gets. The guys ride around in flashy cars and live in fantastic cribs—makes you wonder how they afford it all! They zip through Miami without bothering about traffic laws like they’re above them, without even flipping on their sirens. And it’s all done up nicely with vibrant colors and smooth shots, making guns look worryingly cool. It’s basically a two-hour glitzy cop commercial that throws in some praise for marines too, with Marcus’s son-in-law showing off as an unstoppable soldier.

When the action kicks in full throttle, the directors pile on more insane scenes one after another. The camera seems to do its own stunts!
This movie’s all about movement, with lots of camera action to keep things lively. Instead of setting up detailed dance-like scenes, they use quick camera moves to suggest the action instead of showing it in detail. Unlike Michael Bay’s style, where there are breaks to catch iconic shots sometimes slowed down, this film rarely pauses. It’s more about keeping things constantly in motion.

The action is non-stop and wild—planes crashing, giant alligators snapping, and all sorts of explosions going off like crazy. Your eyes will definitely be glued to the screen with all the chaos happening. There’s a good sense of spectacle for sure! It’s just a shame that it’s paired with a script full of sad dialogue and some pretty obvious propaganda.