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And so, after passing through many hands, the responsibility falls into the laps of up-and-coming Belgian Neveldine/Taylor aficionados, Bilall Fallah and Adil El Arbi, to galumph inevitably on in the story of these two men who have lived a lifetime with the many lives they’ve ended. In the past 16 or so years, Michael Bay must have realized that he needn’t direct a third Bad Boys film he’d already epitomized that film’s fascistically pop style and then sent it careening over a shark-shaped Autobot off a cliff. Bad boys for life,” they weep into each other’s arms, their family standing around them, applauding, the corpses of the vanquished piled high, spreading infinitely outwards in the wake of their egos to haunt the fringes of their waking realities, forevermore. Their journeys take them to Cuba, wherein they destroy a small village and vaporize their enemies, perhaps both as homage to Police Story and as ultimate vindication of their insatiable bloodlust. Mike’s primary characteristics involved being rich, being cool and murdering too many people, while Marcus, though he too murdered a lot of people, represented the working class everyman who faces a moral conundrum about murdering people because he has a daughter.
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Michael Bay thinks that’s OK: In 2003, we needed psychopaths to lead us crotch-deep into the new frontier of crime before which we-Americans, soggy and vulnerable sacks of flesh full of red, white and blue-stood, and Miami detectives Mike Lowrey (Will Smith) and Marcus Burnett (Martin Lawrence) served well as avatars for the particular kind of hyper-violent, xenophobic supermen who’d hold the front line. But you know what? A thousand years from now, we’ll still fucking be here!” - Mike Banning (Gerard Butler), London Has Fallenīad Boys II is about how all cops are psychopaths. Whatcha gonna do? Give that part of the script another pass.”You know what you assholes don’t get? We’re not a fucking building! We’re not a fucking flag! We’re not just one man! Assholes like you have been trying to kill us for a long fucking time. There’s also a dubious plot twist that attempts to change our feelings toward one key character in a way that feels dishonourable toward another. The movie’s greatest accomplishment, though, is the way it brings some honest heart to Mike and Marcus’s partnership in the first half, before the traditional mayhem and profane banter take over (a drinking game based on Lawrence saying ‘Oh, shit!’ would have you passed out well before the end). Castillo (astute casting, given her alleged real-life association with Mexican drug lord El Chapo in the past) gives good malevolence as the witchy Isabel. The co-directors find interesting things to do with the camera here and there, and stage one potent, lengthy motorcycle chase through Miami’s nighttime streets.
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The villains are Armando (Jacob Scipio) and Isabel (Kate del Castillo), the son and widow of a deceased Mexican drug lord Mike once helped put away, though they’re not always on the same page about how to carry out their vengeance plot. An attempt on his life has him itching to get some break-the-rules payback – a mission that Marcus is not necessarily psyched about joining. Marcus, welcoming a new grandchild and son-in-law into his life, is ready to retire, but Mike isn’t ready to give up his bad-boy ways just yet. The stars still share an easy yet combustible chemistry as Miami detectives Mike Lowrey (Smith) and Marcus Burnett (Lawrence), who are now pushing middle age.
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Still, even if the movie seems calculated to give Will Smith and Martin Lawrence a surefire box-office hit, it also acknowledges the passage of time since the last film in ways that pack a little extra feeling amid the familiar Jerry-Bruckheimer production beats. The bad news is that this third in the franchise, directed by Belgian filmmakers Adil El Arbi and Bilall Fallah, doesn’t bring much that’s new to the long-dormant table. The good news is that ‘Bad Boys for Life’ isn’t as obnoxiously vulgar as Michael Bay’s ‘Bad Boys II’.