BAD BOYS FOR LIFE
US, 2020, 124 minutes, Colour.
Will Smith, Martin Lawrence, Vanessa Hudgens, Alexander Ludwick, Charles Melton, Paola Nunez, Kate del Castillo, Nicky Jam, Joe Pantoliano, Jacob Scipio, Theresa Randle.
Directed by Abdil and Billal.
Whew, talk about action! And that is only for the first 10 minutes!! Our heroes drive, seemingly at 100 mph, weaving in and out of the Miami traffic with reckless enthusiasm, only for the episode to finish up with a joke about babies.
Will Smith and Martin Lawrence made such an impression in 1995 with Bad Boys that they have remained in the imagination of the cinema audience for so long, enjoying a sequel in 2003. It seems amazing that it has taken 17 years for this third film in the series to reach the screen.
The two films were directed by Michael Bay who has built up a reputation for non-stop action, non-stop loudness (and that is just for the Transformer movies). He is not at the helm of this film. But the two directors, from Belgium, must be his most ardent disciples because they have not spared any effort in outBaying Michael Bay in terms of fierce and fast action. Unless you have a heart condition and are cautious about over excitement, you can’t help but being caught up in two hours of sometimes breathless action. There are some dramatic pauses, giving more background to the characters and the situation created here, but, then off we go again.
Mike and Marcus, Will Smith and Martin Lawrence, are still in Miami, but certainly not as young as they used to be. Marcus is certainly heavier and slower. He taunts Mike with dyeing his beard. However, they have their song about Bad Boys and declare that they are Bad Boys for life.
This, of course, is sorely tested. The audience is transferred from Miami to Mexico City violently to a prison laundry and a criminal matriarch on the loose, with a son in his early 20s, born in prison, both remembering his father who died there, breathing vengeance (that’s a bit of an understatement) on all who were involved in the case. There is a series of assassinations, lawyers, judges, police – but, it is revealed, the most blamed is Mike, to be killed last so that he suffers most. However, the son jumps the gun, that is fires the gun, wounding Mike, upsetting his angry mother.
Which brings us back into Miami police and action, Joe Pantoliano repeating his turn as Captain Howard, but setting up a new squad of experts for police investigation, Mike wanting to be part of it, his not being allowed, but permitted to go along. His interpretation of this permission of surveillance is to leap out of vehicles, confront suspects violently, going to action in a gaudy nightclub, exasperating the powers that be. But, the members of the squad are an interesting group with action expertise, strategies, computer skills, and a young man who can give the impression of being a swinger.
After the attempt on his life, Mike confides in Marcus and the audience with an intriguing story about his action before the two Bad Boys met, explaining why he is the target of the Mexican vengeance. Will Marcus, who is now a grandfather and who is studying non-violence, help Mike when he goes to Mexico? A rhetorical question, of course!
It all builds up to a huge confrontation in Mexico City, elaborate shootouts, rescuing Marcus as he hangs from a building, build up to a stand between Mike and the mother, some revelations for her son, and a huge apocalyptic conflagration.
Who could ask for anything more? An exemplary archetype for a 21st century action film. And, there is a tantalising final moment to indicate the plotline for the next sequel.
1. The popularity of the original film? 1995? Sequel, 2003? Cult films? The importance of Will Smith and Martin Lawrence, screen presence, bonding? Director, Michael Bay and his action style?
2. The sequel presupposing the past, Miami, the police work, the captain? Working as a team, the bonds, going into action – and beyond!
3. The directors, in the tradition of Michael Bay, a model for an action show, 2020 action, pace, editing, dramatic pauses, then on again, the opening, cars at 100 miles an hour, and the baby joke? Setting the tone? The musical score?
4. Age, Marcus and weight, Mike dyeing his beard? This stage of careers, strong friendship, issues of retirement, Marcus becoming a grandfather, relations with his wife, the wedding ceremony and speeches? Mike, his life, alone? The irony of the later revelation about his son?
5. Mexico, the harshness of the prison, Bill, the laundry sequence, law, action, violence, the escape? The discussions with her son? The plan, vengeance for all those who put her husband in prison, wanting them to suffer, wanting Mike to suffer most? The communications between Mexico City and Miami?
6. The plan, the designation of the variety of targets, lawyers, judges, police? The executions? The eventual death of Captain Howard? Mike and his cavalier attitudes? The race with Marcus, his being shot? In hospital, the six months and recuperation, Marcus at his bedside?
7. Marcus, happy in retirement, Buddhist contemplation, nonviolence? Yet the two being bad boys for life? Their theme song? The wedding, Mike’s recovery?
8. The setting up of the special squad, Captain Howard in charge, Rita and the introduction at the bar, possible bonding for Mike? The members of the squad, the variety of skills, Kelly and her toughness, Dorn and his having killed someone, therapy, his skill with computers? Rafe, the man about town, swinging, at the clubs?
9. Isabel and her son, the confrontation with other members of the drug gangs, the executions, the takeover? His mother’s domination? Shooting Mike? His mother upset, her order to leave Mike to last, the most suffering?
10. The explanation of the back story, Mike’s explanation, infiltrating the drug dealers in Mexico, the relationship with Isabelle, sexual encounter, the going to prison, his opting for police work, not knowing about his son?
11. Mike in action, told to be on the sidelines, his continually stepping forward, the captain and his frustration, Rita and her frustration? Villains, getting out of the van, engaging in action, the behaviour at the nightclub? The information about the bullets, the supply? The siege, the death of the dealer?
12. The clash with Marcus, the issue of violence and nonviolence, Mike and his being pigheaded, wanting support? Marcus going to Mexico, the jokey plane trip and the changing of seats during the criminal narrative?
13. Mike, the plan, tracking down Isabel, the key phrase that was theirs, meeting, her power, the background of witchcraft and prayer? The story, wanting revenge?
14. The final setup, a conflagration, Rita and the squad, Marcus, the shooting, the fire?
15. Isabel and her son learning the truth, his reaction, saving Marcus from falling? Bonding with his father? The shootout, Rita and Isabel’s death?
16. The end, everyone reunited, bonding, the life, Mike going to see his son in prison – and their combining for a possible sequel?
