TRASH IN MY EYE Reviews: Buddy-Cop

Showing posts with label Buddy-Cop. Show all posts

Monday, July 8, 2024

Review: Netflix's "BEVERLY HILLS COP: AXEL F" is a Delightful Surprise

TRASH IN MY EYE No. 29 of 2024 (No. 1973) by Leroy Douresseaux

Beverly Hills Cop: Axel F (2024)

Running time: 118 minutes (1 hour, 58 minutes)

MPA – R for language throughout, violence and brief drug use

DIRECTOR: Mark Molloy

WRITERS: Will Beall and Tom Gormican & Kevin Etten; from a story by Will Beall (based on characters created by Daniel Petrie, Jr. and Danilo Bach)

PRODUCERS: Jerry Bruckheimer, Eddie Murphy, and Chad Oman

CINEMATOGRAPHER: Eduard Grau (D.o.P.)

EDITOR: Dan Lebental

COMPOSER: Lorne Balfe

COMEDY/ACTION/CRIME

Starring: Eddie Murphy, Joseph Gordon-Levitt, Taylour Paige, Judge Reinhold, John Ashton, Paul Reiser, Bronson Pinchot, Damien Diaz, Kyle S. More, Luiz Guzman, and Kevin Bacon

SUMMARY OF THE REVIEW:

--Beverly Hills Cop: Axel F is probably the closest in spirit and tone to the 1984 original film. It is one of Eddie Murphy's better recent efforts.

--The members of the original cast that manage a return in this new film work quite well and don't seem to be hear for nostalgic purposes.

--The new characters are quite good and are worthy of returning

--Beverly Hills Cop: Axel F is surprisingly really good and certainly worth a original fan's time and viewers new to franchise may end up wanting to go back and discover the original after this film.

Beverly Hills Cop: Axel F is a 2024 American buddy-cop film and action-comedy directed by Mark Molloy and starring Eddie Murphy. It is the fourth entry in the Beverly Hills Cop film franchise, and it began streaming July 3, 2024 on Netflix as a “Netflix Original.” Axel F finds Axel Foley returning to Beverly Hills after his estranged daughter's life is threatened.

Beverly Hills Cop: Axel F opens in Detroit, Michigan. After more than four decades on the job, Detective Axel Foley (Eddie Murphy) of the Detroit Police Department is still wrecking cars and tearing up the city via his maniacal car chases in his bid to capture criminals. He has managed to remain on the job under the supervision of his friend, Deputy Chief Jeffrey Friedman (Paul Reiser). Axel's latest antics, however, leads to Jeffrey's retirement.

As Axel contemplates this situation, he gets a call from his old friend, Billy Rosewood (Judge Reinhold), former Beverly Hills Police Department detective turned private investigator. Axel has a daughter, Jane Saunders (Taylour Paige), from whom he is estranged. She has taken on the case of a young drug dealer, Samuel Enriquez (Damien Diaz), who has been accused of murdering an undercover cop. Billy informs Axel that Jane is in grave danger

Axel flies to Beverly Hills, but he quickly discovers that Jane doesn't want to have anything to do with him. He also learns that the young policeman, Detective Bobby Abbott (Joseph Gordon-Levitt), investigating the Enriquez case, also has a complicated relationship with Jane. Although Axel's other old BHPD buddy, former detective and now, Chief John Taggart (John Ashton), is happy to see him, Taggart is reluctant to take on the Enriquez case. He seems to have deferred most of it to Captain Cade Grant (Kevin Bacon), a well-dressed cop who acts mighty suspiciously. It will take a mix of old pals and new friends to help Axel Foley unravel a dangerous conspiracy, but will Axel do more harm than good?

This year (2024) is the 40th anniversary of the original theatrical release of Beverly Hills Cop (1984), which I recently watched for the first time in over thirty years. Beverly Hills Cop: Axel F succeeds where the other sequels came up short, but it successfully replicates the best moments from the original film. There are four spectacular car chases that hold the viewer's attention and don't at all seem contrived or desperate to capture the spirit of what came before it. Plus, the “Axel F” theme (composed by Harold Faltermeyer) dominates the film's soundtrack in so many different ways that I could not help but think of the original film, which usually makes me feel good.

Director Mark Molloy gets the best out of the supporting cast, even the old guys, who look really old forty years after their debut in the original film. Still, the script gives the classic characters much to do so that they don't seem extraneous. Kevin Bacon is Kevin Bacon, and that usually means something quite good, as it does here. The new characters – Joseph Gordon-Levitt's Bobby Abbott and Taylour Paige's Jane Saunders – are good enough to carry a fifth film – if that becomes a necessity.

Of course, Beverly Hills Cop: Axel F is about Axel Foley, and that means Eddie Murphy, who doesn't need a director to tell him how to be him. Still, I think Mark Molly helps. Eddie was Eddie in the Coming to America (1988) sequel, 2021's Coming 2 America (which originally streamed on Amazon Prime Video), and that time, Eddie being Eddie yielded tepid comedic results. So I'm giving credit to the director and the screenwriters, Will Beall, Tom Gormican, and Kevin Etten, for making Axel F something more than just another nostalgic sequel.

Beverly Hills Cop: Axel F is surprisingly entertaining and delightful. It is way better than I thought it would be, and I must say that I won't wait thirty years to watch it again. I have never attempted to watch Beverly Hills Cop III (1984), of which I've heard bad things, but Beverly Hills Cop: Axel F makes this third shot at a sequel a charm.

B+

7 of 10

★★★½ out of 4 stars

Sunday, July 7, 2024

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Thursday, July 4, 2024

Review: Original "BEVERLY HILLS COP" is Still Crazy and Cool

TRASH IN MY EYE No. 28 of 2024 (No. 1972) by Leroy Douresseaux

Beverly Hills Cop (1984)

Running time: 105 minutes (1 hour, 45 minutes)

MPAA – R

DIRECTOR: Martin Brest

WRITERS: Daniel Petrie, Jr.; from a story by Daniel Petrie, Jr. and Danilo Bach

PRODUCERS: Jerry Bruckheimer and Don Simpson

CINEMATOGRAPHER: Bruce Surtees (ASC)

EDITORS: Arthur Coburn and Billy Weber

COMPOSER: Harold Faltermeyer

Academy Award nominee

COMEDY/ACTION/CRIME

Starring: Eddie Murphy, Judge Reinhold, John Ashton, Lisa Eilbacher, Ronny Cox, Steven Berkoff, Jonathan Banks, James Russo, Stephen Elliot, Gilbert R. Hill, Art Kimbro, Joel Bailey, Bronson Pinchot, Paul Reiser, Michael Champion, and Damon Wayans

Beverly Hills Cop is a 1984 American buddy-cop film and action-comedy directed by Martin Brest and starring Eddie Murphy. This year (2024) makes the 40th anniversary of Beverly Hills Cop original theatrical release (specifically December 1984). The film was the first entry in what would become the Beverly Hills Cop film franchise. Beverly Hills Cop focuses on a cocky young Detroit cop who pursues a murder investigation in Beverly Hills where he must deal with a very different culture and a very different police department.

Beverly Hills Cop opens in Detroit, Michigan. There, we meet Axel Foley (Eddie Murphy), a plainclothes police detective. As the story begins, his unauthorized sting operation goes sour resulting in a disastrous high-speed chase. Axel's reckless behavior earns him the ire of his superior, Inspector Todd (Gilbert R. Hill), who threatens to fire him unless he changes his ways.

Axel returns to his apartment to find his childhood friend, Michael “Mikey” Tandino (James Russo). After doing a stint in prison, Mikey got a job as a security guard in Beverly Hills, California via a childhood friend of both Axel and Mikey's, Jenny Summers (Lisa Eilbacher). However, Mikey has gotten into something dangerous, and it costs him his life.

In spite of threats from Inspector Todd, Axel travels to Beverly Hills and visits Jenny at her place of employment, the “Hollis Benton Art Gallery.” There, he discovers that the gallery's owner, Victor Maitland (Steven Berkoff), is involved in something very shady, and that he also likely had Mickey killed. Meanwhile, Axel runs afoul Lt. Bogomil (Ronny Cox) at the local precinct of the Beverly Hills PD. Bogomil has two of his detectives, Billy Rosewood (Judge Reinhold) and Sergeant John Taggart, trail Axel. Can the street-smart Axel convince Rosewood and Taggart to help him discover exactly what Victor Maitland is doing? Or will Axel end up sharing the same tragic fate as Mikey?

It has been well over 30 years since I had watched Beverly Hills Cop in its entirety. As far as I can remember, I definitely saw it in a movie theater sometime in December 1984, likely with some or all of my sisters. I may have watched it once or twice more before the 1980s came to an end. In anticipation of the just released sequel, Beverly Hills Cop: Axel F (a “Netflix Original”), I decided to watch the first film again. Just for starters, the film's soundtrack is still perky, although a bit quaint. Harold Faltermeyer's score, especially the instrumental title tune/theme, “Axel F,” still seems pitch perfect for this movie, as if nearly four decades had not passed.

I wondered if I would like it as much as I did the first time I saw it, and I absolutely loved it back then. This film made Eddie Murphy, for a few years, the biggest star in Hollywood. Watching Beverly Hills Cop now, I feel as if I have fallen in love with it again. Beverly Hills Cop was originally meant to be a star vehicle for Sylvester Stallone and be a straight action film. Instead, it became an Eddie Murphy star vehicle, and a comic action film that has numerous funny moments, most of them executed by Eddie Murphy. Here, you can see what made Murphy a transcendent star; he has true movie star qualities and loads of charisma. Still, Judge Reinhold and John Ashton have their chances to be funny as Rosewood and Taggart, respectively. Of course, Bronson Pinchot as the museum employee, Serge, steals every scene in which he appears. He would go on to use this role to launch himself into television stardom.

As funny as Beverly Hills Cop is, it retains some of the edge that was probably in the early versions of its screenplay. The beginning of the film shamelessly displays the inner city ruins of Detroit. There are also multiple violent deaths, beginning with Mikey's, but I find that the excellent car chase scenes and gun battles are a bit of pop movie fun that balance out the poverty, deprivation, and violent firearm deaths that pepper this film.

Director Martin Brest, who made a career out of turning plain genre films into something just a bit more special, eagerly keeps his camera on his star. Brest records every last bit of Murphy's talent, star power, and comedy modus operandi on the way to making Beverly Hills Cop a cop movie like nothing audiences had seen before or have seen since. In spite of its sequels, Beverly Hills Cop remains one of a kind, and is surprisingly (at least to me) still crazy as heck and funny as hell.

8 of 10

★★★★ out of 4 stars

Thursday, July 4, 2024

NOTES:

1985 Academy Awards, USA: 1 nomination: “Best Writing, Screenplay Written Directly for the Screen” (Daniel Petrie Jr.-screenplay/story and Danilo Bach-story)

1985 Golden Globes, USA: 2 nominations: “Best Motion Picture - Comedy or Musical” and “Best Performance by an Actor in a Motion Picture - Comedy or Musical” (Eddie Murphy)

1986 BAFTA Awards: 1 nomination: “Best Score” (Harold Faltermeyer)

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Friday, June 14, 2024

Review: "BAD BOYS: RIDE OR DIE" is the Best Buddy Cop Action-Comedy in Decades

TRASH IN MY EYE No. 25 of 2024 (No. 1969) by Leroy Douresseaux

Bad Boys: Ride or Die (2024)

Running time: 115 minutes (1 hour, 55 minutes)

MPA – R for strong violence, language throughout and some sexual references

DIRECTORS: Adil El Arbi and Bilall Fallah

WRITERS: Chris Bremner and Will Beall (based on characters created by George Gallo)

PRODUCERS: Doug Belgrad, Jerry Bruckheimer, Chad Oman, and Will Smith

CINEMATOGRAPHER: Robrecht Heyvaert (D.o.P.)

EDITORS: Dan Lebental and Asaf Eisenberg

COMPOSER: Lorne Balfe

ACTION/CRIME/COMEDY

Starring: Will Smith, Martin Lawrence, Vanessa Hudgens, Paola Núñez, Alexander Ludwig, Jacob Scipio, Eric Dane, Ioan Gruffudd, Melanie Liburd, Rhea Seehorn, Tiffany Haddish, John Salley, Quinn Hemphill, Dennis Mcdonald, Tasha Smith and Joe Pantoliano

SUMMARY OF THE REVIEW:

Bad Boys: Ride or Die is the best entry in the series to date

The comic timing and humor of Martin Lawrence as Marcus Burnett is unleashed in his best work of comedy in ages. Lawrence gives this movie so much energy, and he kept the audience where I saw this film laughing almost the entire time.

Will Smith as Mike Lowrey is a solid action-movie hero. Smith, who is also quite funny in this film, makes sure that Bad Boys is truly an explosive, violent action flick.

I unequivocally recommend this film to fans of the “Bad Boys” series and to fans of both Smith and Lawrence.

Bad Boys: Ride or Die is a 2024 American action, crime, and buddy cop film directed by Adil El Arbi and Bilall Fallah, better known as “Adil & Bilall.” It is the fourth entry in the Bad Boys film series, which began with 1995's Bad Boys, and it is a sequel to Bad Boys for Life (2020). In Bad Boys: Ride or Die, Detectives Lowrey and Burnett, the “Bad Boys,” have to take on their own department and a group of professional killers in order to clear their late captain's name.

Bad Boys: Ride or Die opens four years after the event depicted in Bad Boys for Life, Detective Mike Lowrey (Will Smith) marries his physical therapist, Christine (Melanie Liburd). However, at the reception, Detective Marcus Burnett (Martin Lawrence) suffers a serious medical emergency, but worse is to come.

The FBI claims it has discovered a paper trail which proves that the late Captain Conrad Howard (Joe Pantoliano) was tied to drug cartels. Determined to stop the posthumous tarnishing of Capt. Howard, Mike and Marcus discover that Mike's imprisoned son, Armando Aretas (Jacob Scipio), has information that might help their case. Eventually, Mike, Marcus, and Armando must join forces with new Miami PD Captain Rita Secada (Paola Núñez) and the remains of her “AMMO” (Advance Miami Metro Operations) unit – Kelly (Vanessa Hudgens) and Dorn (Alexander Ludwig). In order to clear Capt. Howard's name, however, Mike and Marcus' crew will have to take on a vicious killer, James McGrath (Eric Dane), and his secret mole inside the Miami PD.

I'd seen Bad Boys (1995) and Bad Boys II (2003), so I had to see Bad Boys for Life in preparation for Bad Boys: Ride or Die. It is a good idea to see the 2020 film because quite a bit of its plot and many of its character carry over into the new film. Being somewhat familiar with the Bad Boys film franchise will make the already enjoyable Bad Boys: Ride or Die even more enjoyable.

I think the thing that makes Bad Boys: Ride or Die such a joy to watch is that the team of Will Smith and Martin Lawrence seems to be re-energized. In Bad Boys for Life, Lawrence looked a bit bloated and slow, but here in Ride or Die, he has recovered his comedy mojo. Now, we get a Martin Lawrence that is like the Marty-Mar who was at the height of his powers in the 1990s. He kept me and the audience with which I saw Ride or Die last night in stitches. Lawrence was a constant barrage of comedy one-liners and comic riffs, and none of them seemed contrived. I'm happy for him because Lawrence has not been this good in well over a decade.

Will Smith's notorious slap has apparently not delivered a knock out to his talents as a film actor and movie star. I can't speak for the rest of y'all, dear readers, by I ain't canceling Will over that. Smith is most solid as an action movie hero in the Bad Boys franchise, and he is at his best here. Smith is quite funny himself, but as a gun-totting, pop-capping deliverer of justice and vengeance, Smith is as good as any other movie star. In Bad Boys: Ride or Die, Will Smith is as sturdy and as robust as Bruce Willis was in Die Hard and in its best sequels. As of right now, Smith is the king of action cinema.

Now, I won't act as if Bad Boys: Ride or Die is without problems. The plot strains credulity; honestly, it us obvious that Capt. Howard is being framed, but in order for the narrative to work, the audience has to act as if such a scenario as this would happen. Still, the directorial team of Adil & Bilall have made magic with their two entries in the Bad Boy series, and have delivered a new film that should thrill audiences throughout the summer movie season. Bad Boys: Ride or Die even has a cameo by the series' original director, Michael Bay.

8 of 10

★★★★ out of 4 stars

Friday, June 14, 2024

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Saturday, June 1, 2024

Review: "BAD BOYS FOR LIFE" Takes a Bit to Come to Life

TRASH IN MY EYE No. 24 of 2024 (No. 1968) by Leroy Douresseaux

Bad Boys for Life (2020)

Running time: 124 minutes (2 hours, 4 minutes)

MPA – R for strong bloody violence, language throughout, sexual references and brief drug use

DIRECTORS: Adil El Arbi and Bilall Fallah

WRITERS: Chris Bremner, Peter Craig & Joe Carnahan; from a story by Peter Craig & Joe Carnahan (based on characters created by George Gallo)

PRODUCERS: Doug Belgrad, Jerry Bruckheimer, and Will Smith

CINEMATOGRAPHER: Robrecht Heyvaert (D.o.P.)

EDITORS: Dan Lebental and Peter McNulty

COMPOSER: Lorne Balfe

ACTION/CRIME/COMEDY

Starring: Will Smith, Martin Lawrence, Vanessa Hudgens, Paola Núñez, Alexander Ludwig, Charles Melton, Kate del Castillo, Nicky Jam, Joe Pantoliano, Jacob Scipio, and Theresa Randle

Bad Boys for Life is a 2020 American action, crime, and buddy cop film directed by Adil El Arbi and Bilall Fallah, better known as “Adil & Bilall.” It is the third entry in the Bad Boys film series, which began with 1995's Bad Boys, and it is a sequel to Bad Boys II (2003). In Bad Boys for Life, Detectives Lowrey and Burnett, the “Bad Boys,” face off against a mysterious killer whose campaign of revenge is centered on Lowrey.

Bad Boys for Life opens in Mexico at the Santa Maria Ixcotel Prison. There, Isabel Aretas (Kate del Castillo) escapes with the help of her son, Armando (Jacob Scipio). Isabel is the son of the late cartel kingpin, Benito Aretas, and she wants revenge against the men who helped take down her husband twenty-four years ago. Armando, a highly-skilled criminal, savvy fighter, and vicious killer, is the instrument of her revenge.

One of those men is Detective Lt. Michael “Mike” Lowrey (Will Smith), and Armando comes close to killing him. Mike is a hard man to keep down, and he wants payback. His boss, Captain Conrad Howard (Joe Pantoliano), wants Mike to let a new, tech-driven police unit, called “AMMO” (Advance Miami Metro Operations), hunt the shooter. Mike doesn't like that, especially as his former girlfriend, Lieutenant Rita Secada (Paolo Nunez), is head of AMMO. Even worse, Mike's longtime partner, Det. Lt. Marcus Burnett (Martin Lawrence), has retired and wants to stay that way. But when things get worse, will the Bad Boys be forced to unite for one last ride?

I still laugh at the fact that the film that became 1995's Bad Boys was originally written for actor-comedians, Dana Carvey and Jon Lovitz. Bad Boys would go on to become a signature entry in the filmographies of both eventual Oscar-winning actor, Will Smith (King Richard), and Martin Lawrence, who would go on to star in such films as Big Momma's House (2000) and Wild Hogs (2007). The duo eventually reunited for 2003's Bad Boys II. Because the fourth entry in the Bad Boys series, Bad Boys: Ride or Die (2024), is about to be released, I decided to go back and watch and review the one film in the franchise that I had not seen in its entirety, Bad Boys for Life (2020).

A close friend told me that he thought Bad Boys for Life was bad. I did find the first hour to be rather poorly developed. After all, Lowrey and Burnett seem pretty slow in figuring out that the shootings of Lowrey and others are obviously related. All these veteran cops and young, smart, new-school law enforcement are working on this case, and they are as clueless as can be.

However, in the film's second hour, directors Adil & Bilall make the most of their creative cohorts, especially their stunt coordinators, lighting department, and film editors in order to deliver a film that is fast-paced and slickly violent. The filmmakers also bring out all of the colors and life in both the Miami and Mexican locations Adil & Bilall do their best to summon the spirit of Michael Bay, the director of the first two films. I wonder what he thought of the new directors' homage to his style. I must say that Adil & Bilall eschew Bay's over-the-top theatrics for a slick visual, action style that is more focused on the characters than on sweeping shots and a deafening score and soundtrack.

In some ways, Bad Boys for Life is this series' best entry. Yes, Martin Lawrence looks a little pudgy in the face, but his comic timing and humor eventual rev up. Will Smith still looks lithesome and on the edge. While it starts clunky, Bad Boys for Life doesn't show its age, but it does show that – surprisingly – there is still life in these cinematic bad boys.

7 of 10

B+

★★★½ out of 4 stars

Saturday, June 1, 2024

NOTES:

2021 Image Awards (NAACP): 1 win: “Outstanding Motion Picture” and 1 nomination: “Outstanding Actor in a Motion Picture” (Will Smith)

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Review: "BAD BOYS II": What'cha Gonna Do 'Cept Watch This

TRASH IN MY EYE No. 114 (of 2003) by Leroy Douresseaux

Bad Boys II (2003)

Running time: 147 minutes (2 hours, 27 minutes)

MPAA – R for strong violence and action, pervasive language, sexuality and drug content

DIRECTOR: Michael Bay

WRITERS: Ron Shelton and Jerry Stahl; from a story by Cormac Wibberley & Marianne Wibberley and Ron Shelton (based upon the characters created by George Gallo)

PRODUCER: Jerry Bruckheimer

CINEMATOGRAPHER: Amir Mokri (D.o.P.)

EDITORS: Roger Barton, Mark Goldblatt, and Thomas A. Muldoon

COMPOSER: Trevor Rabin

ACTION/COMEDY/THRILLER/CRIME

Starring: Martin Lawrence, Will Smith, Gabrielle Union, Joe Pantoliano, Theresa Randle, Jordi Molla, Gary Nickens, Jason Manuel Olazabal, John Salley, Henry Rollins, and Dan Marino

Bad Boys II is a 2003 American buddy-cop film and action-comedy from director Michael Bay. It is a sequel to the 1995 film, Bad Boys, and is also the second film in the Bad Boys film series. In Bad Boys II, loose-cannon Detectives Burnett and Lowrey investigate the flow of illegal drugs into Miami and end up on the middle of a battle for control of the ecstasy trade.

In a crowded field of auteurs, director Michael Bay (The Rock, Armageddon) strives to become the director god of action movies; indeed, he may already be there. He returns for the sequel to Bad Boys, the film that put him on the map as a big time director of insane gunfights, fiery explosions, and slow motion ballets of unabashed violence. And since we must not worship any god before the god, this Zeus of adrenaline films unleashes a film of wall-to-wall mayhem that overwhelms the audience to paranoiac exhaustion just to show us what he can do.

Bay is fortunate (if a god can ever be called fortunate) to have two talents who are very good at what they do, Martin Lawrence and Will Smith. It’s ironic that these roles weren’t originally written for them, but the two actor/comedians have made the bad boys, Marcus Burnett (Lawrence) and Mike Lowrey (Smith) of Bad Boys II, their own because Burnett and Lowrey could not exist without them.

The plot is a confused half-assed muddle involving stereotypical Russian, Cuban, Jamaican, and redneck drug dealers battling it out in Miami for control of the ecstasy trade. If that wasn’t addled enough, Marcus’s sister, Sydney (the beautiful and sexy Gabrielle Union), is an undercover DEA agent caught in the middle of some mismanaged surveillance operation of a Russian and Cuban money-laundering scheme.

Smith and Lawrence are absolutely wonderful as the bad boys. They have to be because they’re on a very short list of actors whom Michael Bay cannot overwhelm with his thunderous conflagrations of balls-to-the-walls violence. Smith is pure bravado, sweating confidence with cartoonish machismo. His physical bearing and rapid-fire delivery of his dialogue create a seamless presence in the film that leads you to believe that Smith is always Lowery, even when you know that a stunt guy has to step in every now and then. He’s no bossy director’s action marionette or pretty boy A-list actor frontin’ like he’s all that. Smith is all that.

When he has good material, Martin Lawrence is a riot act of physical and facial humor. He’s a comedian, born to make us laugh despite his own personal demons. Lately, he’s sold himself for movies that treat him like a minstrel, when he’s at his best skewering the mainstream. In Bad Boy II, he reveals himself to be the best graduate of the Richard Pryor school of facial contortions, which Lawrence uses to grand effect to make us believe that the film’s juggernaut of violence actually scares him.

Even the overwhelming performances of Smith and Lawrence are almost no match for the overwhelming violence of Bad Boys II, but the actors are game. They do an admirable job keeping up with the exploding body parts, flying corpses, decapitated corpses, defiled corpses, gunshot wounds, gratuitous ass shots, the bare breasts of a naked corpse, flying cars, disintegrating cars, exploding cars, car wrecks, car crashes, and flesh wounds to the buttocks. There was a point early in the film when I was sure that Michael Bay was a fabulous artist of the absurd, cinema his canvas, and wanton violence his raw materials. The action was great and invigorating, the violence was cathartic and deliriously funny, and I wanted to revel in the excess. Lawrence and Smith were so on that I screamed with the kind of laughter I reserve for classic Richard Pryor, Mel Brooks, Marx Brothers, Lenny Bruce, and Burns and Allen.

After awhile, I realized that this was as much popcorn cinema as it was art. I still believe that Bay is on to something. One day, we will see him a great filmmaker who pushed the envelope with his inventiveness and imagination, but in Bad Boys II, he went too far too soon. It’s more popcorn than an even an audience ravenously hungry for Circus Maximus bedlam can stomach. With this film, Bay made the mistake that Martin Scorsese did with Gangs of New York: end the picture early enough and he has a cinematic classic, a truly great film. Overstay his welcome, and the director spoils his film.

As mean-spirited as this film gets, I’d still recommend this to die hard action fans and fans of Smith and Lawrence. I’d only recommend that they just have a bib ready for when you spit up from overeating this cinematic pandemonium.

6 of 10

★★★ out of 4 stars

Edited: Monday, July 1, 2024

NOTES:

2004 Image Awards (NAACP): 3 nominations: “Outstanding Motion Picture,” “Outstanding Actor in a Motion Picture” (Will Smith), and “Outstanding Supporting Actress in a Motion Picture” (Gabrielle Union)

2004 Black Reel Awards: 1 nomination: “Film: Best Soundtrack”

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Review: "BAD BOYS" Has Had a Surprisingly Long Life

TRASH IN MY EYE No. 113 (of 2003) by Leroy Douresseaux

Bad Boys (1995)

Running time: 119 minutes (1 hour, 59 minutes)

MPAA – R for intense violent action and pervasive strong language

DIRECTOR: Michael Bay

WRITERS: Michael Barrie, Jim Mulholland, and Doug Richardson; from a story by George Gallo

PRODUCERS: Jerry Bruckheimer and Don Simpson

CINEMATOGRAPHER: Howard Atherton

EDITOR: Christian Wagner

COMPOSER: Mark Mancina

ACTION/COMEDY/THRILLER/CRIME

Starring: Martin Lawrence, Will Smith, Tea Leoni, Joe Pantoliano, Tcheky Karyo, Theresa Randle, Marg Helgenberger, Nestor Serrano, Julio Oscar Mechoso, Saverio Guerra, Michael Imperioli, and Karen Alexander

As usual, a cog in the Hollywood system had written an action/comedy for Jon Lovitz and Dana Carvey, two funny white men. Perhaps, the white studio bosses never thought of persons of colors playing the parts and playing them not only well, but also better than the actors of the default skin color. By happy accident, two tremendously talented comic actors, who also happened to be men of color inherited the parts, and, thus was born Bad Boys. Lord knows, we can never again think of Lovitz and Carvey, two milky-white Americans, as proper for these roles, not that there’s anything wrong with one’s skin color being that white.

Bad Boys is a 1995 American buddy-cop film and action-comedy directed by Michael Bay. Bad Boys focuses on two savvy, Black detectives who try to protect a witness to murder while also investigating the theft of heroin from their police precinct’s evidence room.

Marcus Burnett (Martin Lawrence) and Mike Lowrey (Will Smith) are two hip detectives; at least they seem cooler than their Miami PD colleagues, but they can take the heat that comes with their job. As the film begins, they’ve already made a major heroin bust, but a gang of well-equipped thieves breaks into the precinct’s evidence room and steals the dope. Obviously, the raid is an inside job, so the precinct takes the blame. Burnett and Lowrey’s Captain Howard (Joe Pantoliano) feels the heat and returns it to the boys, putting the onus on them to find the dope. Making matters more complicated, they get saddled with protecting Julie Mott (Tea Leoni) a murder witness somehow connected to the smack thieves.

According to stories from the set of Bad Boys, director Michael Bay, Lawrence, and Smith hated the script, so they ad-libbed a lot of the dialogue. This was Bay’s first feature film, but he’d made a name for himself directing music videos for Tina Turner and “Wilson Phillips” (among others) and commercials for Nike and Budweiser (among others). Bay brings all the visual flair and clichés you could expect from music videos: quick-cut editing, dark alleyways full of steam, sexy chicks, and hot cars. He mixed in car chases, tremendous explosions, cartoonish violence, and gunfights with hundreds of rounds of ammunition. Smith and Lawrence brought the comedy and the hip sensibility to play the characters so over the top that you’d think they were heroes right out of a comic book. It works to an extent. Bad Boys is a very funny, exciting, and visually agile action movie.

If anything, it’ll be remembered for its African-American leads, unusual for an cop buddy movie/action flick. Beyond that, Bay introduced his over the top visual style that he would bring all his heart-pounding, action vehicles: slow motion camera buzzing around a posing action stud, panoramic shots of the sky, narrow escapes from devastating fire balls, etc. Bad Boys is pleasant and fun, nothing important, but it stands out in the white bread world of Hollywood action romps. Certainly, Lawrence and Smith are more believable as renegade cops than say, Josh Hartnett or Ben Affleck.

6 of 10

★★★ out of 4 stars

Edited: Friday, June 28, 2024

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