Will Smith ‘Ride or Die’ Disappoints Fans
Bad Boys for Life (Not So Much): A Franchise on Autopilot
In the realm of action-comedy sequels, Bad Boys: Ride or Die, the fourth instalment in the Will Smith and Martin Lawrence buddy-cop saga, is a film that feels as worn out as its protagonists' banter. While the first two films, released in 1995 and 2003, respectively, had a certain energetic charm and the third, 2020's Bad Boys for Life, attempted to inject some fresh blood into the franchise, this latest entry seems content to coast on fumes.
The plot, as thin as Mike Lowrey's (Will Smith) patience for Marcus Burnett's (Martin Lawrence) midlife crisis antics, revolves around a convoluted revenge scheme targeting the deceased Captain Howard (Joe Pantoliano). His son, Armando (Jacob Scipio), now a DEA agent, teams up with the bickering duo to uncover the truth behind his father's framing for drug cartel connections. Naturally, this involves a lot of car chases, explosions, and shootouts, all set against the neon-soaked backdrop of Miami.
However, unlike the previous films, the action sequences in Ride or Die lack the same visceral impact. The frenetic editing, shaky camera work, and excessive CGI create a visual cacophony that leaves the audience feeling disoriented rather than exhilarated. Moreover, the humour, once a hallmark of the franchise, feels forced and predictable. The constant bickering between Mike and Marcus, while initially amusing, quickly grows tiresome.
The Miami Vice Syndrome: Style Over Substance
Smith and Lawrence, while still charismatic in their own right, seem to be going through the motions. Their chemistry, once crackling with energy, feels subdued. Smith, in particular, seems to be holding back, perhaps a consequence of the shadow cast by his infamous Oscar incident. Meanwhile, the new additions to the cast, including Scipio and Paola Núñez as the tough-as-nails Rita, fail to leave a lasting impression. Their characters are underdeveloped and serve primarily as plot devices rather than fully fleshed-out individuals.
Bad Boys: Ride or Die is not a terrible film, per se. It is simply a forgettable one. It is a film that lacks the spark and originality of its predecessors, opting instead for a formulaic approach that feels safe and uninspired. It is a film that tries to recapture the magic of the past but ultimately fails to deliver anything new or exciting.
Visually, Bad Boys: Ride or Die suffers from an overreliance on the "Miami Vice" aesthetic. Everything is bathed in neon hues, from the city's skyline to the characters' wardrobes. While this may have been visually appealing in the 1980s, in 2023, it feels derivative and clichéd. The film's obsession with style over substance extends beyond the visuals. The plot, as mentioned earlier, is a convoluted mess that relies on tired tropes and predictable twists.
Bad Boys: Ride or Die – A Disjointed Attempt at Thrills and Comedy
The villains, led by the enigmatic Isabel Aretas (Kate del Castillo), are one-dimensional and lack any real motivation beyond a generic desire for revenge. Their schemes are overly elaborate and nonsensical, leaving the audience scratching their heads rather than gripped by suspense. Furthermore, the film's attempts at humour often fall flat. The jokes feel stale and rely heavily on stereotypes and outdated references. The comedic timing between Smith and Lawrence, once impeccable, now feels off, as if they are trying too hard to recapture their former glory.
The supporting cast, which includes Vanessa Hudgens, Alexander Ludwig, and Charles Melton, is wasted on underdeveloped characters who serve little purpose beyond providing exposition or comic relief. Their talents are squandered on roles that offer little opportunity for them to shine. The film's pacing is also uneven. The first half drags on with unnecessary exposition and pointless subplots, while the second half rushes through a series of action sequences that lack coherence and emotional weight.
In essence, Bad Boys: Ride or Die is a film that tries to be everything to everyone but ultimately fails to excel in any particular area. It is neither a thrilling action film nor a hilarious comedy. It is a mishmash of genres that never quite finds its footing. It is a film that feels like it was made by committee, with no clear vision or direction.
The Ghost of Michael Bay: A Franchise Haunted by Its Past
Perhaps the most disappointing aspect of Bad Boys: Ride or Die is its inability to escape the shadow of Michael Bay, the director of the first two films. While Adil El Arbi and Bilall Fallah, the directors of Ride or Die, attempt to emulate Bay's signature style, they ultimately fall short. The action sequences, while visually impressive, lack the same kinetic energy and visceral impact that Bay brought to the franchise.
Moreover, the film's humour feels like a pale imitation of Bay's signature brand of over-the-top, testosterone-fueled comedy. The jokes are often crude and rely heavily on stereotypes, failing to elicit genuine laughter. The film's attempts at emotional depth, particularly in the scenes between Mike and Marcus, feel forced and contrived.
The script, penned by Chris Bremner, feels like a checklist of action movie clichés, with little originality or wit. The characters are reduced to caricatures, spouting one-liners and engaging in predictable banter. The plot, as mentioned earlier, is a convoluted mess that fails to engage or surprise the audience.
Bad Boys: Ride or Die is a film that feels stuck in the past, unable to evolve or reinvent itself. It clings to the formula that made the first two films successful, but without the same level of execution or enthusiasm. It is a film that feels like a missed opportunity, a chance to breathe new life into a franchise that has grown stale and predictable.
The Missed Opportunities: A Franchise in Need of a Reboot
Bad Boys: Ride or Die had the potential to be a turning point for the franchise. It could have explored the characters' ageing and evolving relationship, delving into the themes of mortality and legacy. It could have introduced new characters with compelling backstories and motivations, injecting fresh blood into a stagnant formula. It could have taken risks with its storytelling, subverting expectations and challenging genre conventions.
Unfortunately, the film squanders these opportunities, opting instead for a safe and predictable path. It relies on nostalgia and fan service, hoping that the mere presence of Smith and Lawrence will be enough to satisfy audiences. However, nostalgia alone cannot sustain a franchise. Without innovation and creativity, even the most beloved characters and stories can become stale and tiresome.
The film's failure to evolve is evident in its treatment of female characters. While the previous films were not exactly paragons of feminist representation, Ride or Die takes a step backward. The female characters are either relegated to the sidelines or reduced to stereotypes. They lack agency and depth, serving primarily as objects of desire or damsels in distress.
In an era where audiences are demanding more diverse and complex representation in their entertainment, Bad Boys: Ride or Die feels woefully outdated. It clings to a formula that has long outlived its relevance, refusing to acknowledge the changing landscape of cinema.
A Glimmer of Hope: The Future of the Franchise
Despite its flaws, Bad Boys: Ride or Die does offer a few redeeming qualities. The film's soundtrack, featuring a mix of hip-hop, reggaeton, and Latin pop, is undeniably catchy. The cinematography, while often frenetic and chaotic, does capture the vibrant energy of Miami. And the film's final moments hint at a potential new direction for the franchise, one that could redeem its past mistakes.
In the end, Bad Boys: Ride or Die is a film that feels like a missed opportunity. It is a film that could have been so much more, but instead settles for mediocrity. It is a film that fails to live up to the legacy of its predecessors, opting for a formulaic approach that feels tired and uninspired.
However, all is not lost. The franchise still has potential, but it needs a fresh start. It needs to embrace change and take risks. It needs to move beyond the clichés and stereotypes that have plagued it for so long. It needs to find a new voice, one that speaks to a modern audience and reflects the changing landscape of cinema.
Perhaps a new director, with a fresh perspective and a willingness to challenge the status quo, could revitalise the franchise. Perhaps a new cast of characters, with diverse backgrounds and compelling stories, could breathe new life into the formula. Perhaps a focus on character development and emotional depth could elevate the franchise beyond its action-comedy roots.
Only time will tell if Bad Boys can ride again, but one thing is certain: if the franchise wants to survive, it needs to evolve. It needs to find a new path, one that leads to a brighter future.
In conclusion, Bad Boys: Ride or Die is a disappointing addition to a once-beloved franchise. It is a film that feels like a shadow of its former self, lacking the spark, originality, and heart that made the first two films so memorable. While it may offer some fleeting moments of enjoyment, it ultimately fails to deliver a satisfying cinematic experience. It is a film that feels like a missed opportunity, a reminder of what could have been.
The future of the Bad Boys franchise remains uncertain, but one thing is clear: if it wants to survive, it needs to evolve. It needs to find a new voice, embrace change, and take risks. It needs to rediscover the magic that made it a global phenomenon in the first place. Only then can it truly ride again.
