Mike and Marcus have bounced back from their run-in with the hitman, who just happens to also be Mike’s son, Armando. Armando’s locked up in jail now. While Mike is gearing up to get married, Marcus is tagging along, kind of like a modern-day Sancho Panza who can’t resist junk food. But then Marcus has a heart attack and sees Captain Howard in this odd vision. He starts thinking he must be immortal because his time hasn’t come yet. His wife, though? She gets rid of all his snacks at home.

Marcus still isn’t in top form; he’s getting panic attacks after a shootout, which really throws him off his game. But they’ve got bigger fish to fry when someone starts dragging Captain Howard’s name through the mud. To figure out who’s behind it, guess who they need? Yup, Armando—because he’s the only one who can finger the culprit.

So off they go on another wild ride full of jailbreaks, gators, chases, and kidnappings.

At first though, this movie kind of limps along with these cringe-worthy jokes that seem aimed at folks stuck in the ’90s mindset. The never-ending banter between Mike and Marcus tries hard to be both tough and funny but clashes with this outdated view of the world that’s just more sad than amusing.

Once again, we’re faced with classic “copaganda,” where being a cop means…
In Bad Boys: Ride or Die, you’ve got these two guys who are basically living on the edge, like they don’t care about playing by the rules. The movie’s packed with action—almost like a video game, especially in one scene where you see everything from the perspective of a gun. It’s also interesting because the main characters are Black cops, which makes you think about how they might feel about their roles in today’s world. It’s set in Florida, so you’d expect it to be complicated.

This movie’s all about doing everything big and loud, with no winking at the audience to show they’re kinda making fun of themselves. These guys drive flashy cars and own killer houses, even though it’s a mystery how they afford all this stuff. They pretty much treat Miami’s traffic laws like optional guidelines—zooming around town for personal reasons without even flipping on their sirens. Everything is shot to look as cool as possible; it’s all about those vibrant colors and slick visuals.

The whole thing feels like a long commercial glorifying cops—and even throws in some love for the Marines with Marcus’s son-in-law turning out to be this unstoppable soldier hero guy.

Once things really get going, the directors keep turning up the volume with one wild scene after another. It’s non-stop craziness captured by a camera that’s not afraid to dive into acrobatic maneuvers itself!
This movie goes all-out with action, keeping everything moving and shaking rather than focusing on detailed choreography. It’s like they’ve decided it’s way easier (and cheaper) to move the camera around like crazy than to actually put together a tight action sequence. While some directors might throw in a slow-motion shot or two to let scenes sink in, this film never really pauses for that iconic image moment—it’s all about nonstop energy.

You get tossed into a whirlwind of crashes, giant gators snapping at people, and endless explosions lighting up the screen. The visual spectacle is definitely there. But honestly, it comes with a script filled with lame dialogue and an agenda that feels more about making a point than telling a good story.