Bad Boys (1995) – "I'm not Wesley Snipes"
If I were gay, I would have chosen different curtains.
Two cop friends with different lives and methods must solve a murder and heroin theft.
Heavily influenced by *Lethal Weapon* and *Beverly Hills Cop*, the plot, while not particularly original, remains effective. The dialogues often hit the mark and are unforgettable, such as the one about the consistency of dog feces or the connection between marriage and sex. Michael Bay makes his directorial debut, and he’s already itching to blow everything up. However, it’s not always sophisticated, as seen in the awkward fart joke. Overall, a sensational example of the buddy movie genre.
Bad Boys II (2003) – "Therapy is for solving problems, not hitting on the therapist"
What’s an erection?
Johnny circulates ecstasy inside corpses. Mike accidentally shoots Marcus in the butt. Marcus doesn't see a future with such a childish partner.
No one cares about the drug storyline, and the director only focuses on blowing everything up. There’s a plethora of mindless shootouts—it’s two and a half hours of noise. The film adopts the worst traits of a rap video: the protagonists show off, chat excessively, and there are flashy cars, weapons, and scantily-clad dancers everywhere. The film’s massive length? Only justified by a pointless Cuban incursion at the end, meant to provide more action for easily entertained viewers. Still, there are a few hilarious lines, and the scene with the missionary-position copulating rats is so stupid it made me laugh. Yet another low blow from Michael Bay.
Bad Boys for Life – "You still taking those little blue pills?"
– You kicked out a 10-year-old?
– He called me a dickhead.
A mysterious motorcyclist starts gunning down everyone connected to the arrest of a cartel member.
Slightly more serious and less vulgar, Adil El Arbi and Billal Fallah bring fresh energy to the franchise. Their action scenes are much clearer than Michael Bay’s. However, the spirit of the previous two films remains intact, and – rest assured – the dumb humor is still present. The dialogues are full of fast-paced jokes and entertaining interactions between the two protagonists. The spectacle is still enjoyable, if not surprising. However, Martin Lawrence's character feels like Christian propaganda, as he promotes religious values: God, family, and that killing is wrong.
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