Terminator, Planet of the Apes, Back to the Future, Alien. Few genres are as defined by their franchises quite as much as science fiction, but not all of these serialized adventures can claim a sturdy track record.

Predator, up until recently, was one such franchise in need of a dire change. Despite going two-for-two with Predator and Predator 2, 2010’s Predators marked a disgusting low for blockbuster cinema, and 2018’s The Predator did little in the way of clawing back its reputation. All this, while being associated with the Alien vs. Predator clown show. Thankfully, Prey came out nearly three summers ago now, so those woes have long been replaced by a hunt-happy luminary that continues to enjoy streaming success today.

Per FlixPatrol, Prey has emerged as the top film on Tubi in the United States at the time of writing, outsmarting the likes of a third place Independence Day and a sixth place Bad Boys, whose combined efforts in the past had a massive effect on the blockbuster sphere, Will Smith, and, more regrettably, Michael Bay.

Set in the year 1719 on the North American Great Plains, Prey stars Amber Midthunder as Naru, a young Comanche woman whose hunting ambitions clash frustratingly with her tribe’s expectations of her. A tracking excursion eventually pits her against the likes of grizzly bears and French fur traders, but her biggest problem by some distance is the wrist blade-equipped monster that looks a lot like the alien that Arnold Schwarzenegger will fight a few centuries from now.

Prey made history as the first feature-length film to be dubbed entirely in the Comanche language, with all of the actors providing voiceover work for that version of the film. It also made history as the first Predator film released this millennium to not suck, and those two achievements are more closely tied than one may think.

The cerebral anchor of Prey‘s bloody hero-versus-Yautja proceedings is the interest it takes in the relationship that all of these characters have to the act of hunting. Prior to North America’s colonization by the British, the Comanche regularly hunted bison, and the film’s conflict is partially driven by the fate of the local bison population that Naru’s tribe relies on.

Pay attention to the how and the why of how Naru and her tribe, the Yautja, and the French fur trappers all hunt. Notice how Naru (the protagonist) directly puts herself in danger for many of her hunts and does so for the sake of survival. Notice how the antagonistic French fur trappers also hunt for survival, but avoid putting themselves on the line for it, opting instead to let their bear traps do all the dirty work so they can safely deliver an undignified death to that which they trap.

And finally, notice how the Yautja — the primary antagonist(!) — doesn’t even hunt for the sake of survival, and simply kills everything in sight because it can. Indeed, it’s satisfying enough that Prey is viscerally effective on a purely technical level, but the line of thinking it plays upon is deliciously unique, and speaks to the unthinkably fertile narrative potential that franchise films are capable of occupying. Alien: Romulus, Prey‘s distant cousin, is another fine example.

Will Smith and Michael Bay have made magic together. Twice, actually. The actor and director helped each other breakout with the 1995 action classic Bad Boys. It was Smith’s first starring role, and Bay’s first film period. They ran it back with the bigger, louder, and even more successful Bad Boys II in 2003.

Now Smith and Bay are linking up a third time. The duo are reportedly ing forces the for new film Fast & Loose. Deadline reports that the film revolves around a man who wakes up without any memories. Eventually, though, he learns that leads a very dangerous double life, and has to figure a way out.

We know what you’re thinking. No, it’s not a remake, and yes, you’ve seen this exact same film done a dozen times over the last few decades.

The premise has been done to death

The notion of combining Smith, who has experienced a commercial boost as of late thanks to the Bad Boys films, with Bay, who, as previously mentioned, helped to establish Smith in the first place, makes sense on paper. We just wish it came with a more novel concept.

Fast & Loose will reportedly pose Will Smith in two different identities: a notorious crime kingpin and an undercover CIA agent. We aren’t going to list off all the films that toy with this same exact premise, because we’d be here until Fast & Loose comes out, but are going to list a few to make the point.

Liam Neeson did this same exact premise with Unknown (2011). Geena Davis had a memorable turn as an amnesiac operative in The Long Kiss Goodnight (1996). Jesse Eisenberg put a comedic spin on it for American Ultra (2015). Matt Damon arguably perfected the amnesia subgenre with the Bourne franchise. So on, and so forth.

Will Smith is trying to revive his 90s peak

Look, we get it. Will Smith has had a rocky couple of years. He slapped Chris Rock the night he won his first Oscar, and he was pretty fairly maligned for it. Bad Boys: Ride or Die (2024), a pretty clear throwback to his 90s heyday, helped to repair his public reputation somewhat.

What do you do if you’re Smith? More of the same. Bad Boys: Ride or Die, and its predecessor, Bad Boys for Life (2021), have been the best-received Smith films in a decade, excluding the sports film that won him the Oscar, King Richard (2023).

Smith, like Tom Cruise, can only do the retro action thing for so long. Tom Cruise is wrapping up Mission: Impossible and getting back to work with auteur filmmakers like Alejandro G. Inarritu. Smith is going to have to be careful not to lean too heavily on 1990s nostalgia, because it will quickly wear thin.

The last time he attempted a throwback action film with a gimmick premise was Gemini Man (2019) and it tanked at the box office. Hopefully Fast & Loose avoids a similar fate.

On the week Bad Boys: Ride or Die ed $400 million at the global box office, the fourth chapter in Martin Lawrence and Will Smith’s crowd-pleaser franchise received a precious endorsement from none other than Stephen King.

The accomplished American author, who infamously provides commentary for everything from the current state of affairs to his favorite recent watches and reads on his X , gave the 2024 summer action comedy blockbuster his seal of approval, calling it “a lot of fun.” He took the opportunity to spotlight comedy legend Martin Lawrence’s performance, saying he “always makes [him] laugh,” but the lack of love for Martin’s controversial co-star raised eyebrows among King’s followers.

While we doubt King omitted Will Smith from his review on purpose, the 55-year-old actor has been a bit of a sensitive topic ever since the now-infamous Oscars kerfuffle of 2022 where he slapped Chris Rock on stage. Bad Boys 4 has been Smith’s big return to the silver screen after the critical and commercial failure of Apple TV Plus’ Emancipation on the heels of the slap scandal. The comedy movie even went out of its way to make fun of the incident in its script, fully embracing its role in Smith’s career turnaround. And it’s working.

Not only has Bad Boys: Ride or Die become a box office hit, but it has also appeased audiences and critics. Lawrence and Smith’s chemistry on whose shoulders this franchise was built has obviously received most of the praise, but critics have also recognized and complimented director duo Bilall Fallah and Adil El Arbi’s commitment to the craziness that has come to define the action comedy series. Bad Boys 4‘s lukewarm 65% critic rating on Rotten Tomatoes is cushioned by a much more favorable — and ultimately more important —97% audience score, proving the big majority of moviegoers are siding with Stephen King on this one.

Read We Got This Covered’s review of the film here.

The fourth entry in a successful franchise, Bad Boys: Ride or Die struggles to give moviegoers a reason to keep watching Will Smith and Martin Lawrence’s constant bickering.

The first two Bad Boys movies, released in 1995 and 2003, are standalone police stories. Each installment has a straightforward mystery to solve, and the only reason these movies are considered cult classics is due to the dynamics of their two lead stars. The third movie, Bad Boys for Life, tried to revive the franchise in 2020 by focusing on creative action set pieces and worldbuilding. Bad Boys for Life‘s critical and financial success led to Ride or Die, which goes all in on the game of nostalgia and self-reference.

Set after the events of Bad Boys for Life, Ride or Die follows Marcus (Lawrence) and Mike (Smith) as they adjust to a new police hierarchy. Both agents are still shaken after the death of Captain Conrad Howard (Joe Pantoliano) — by the hands of Mike’s long-lost son, no less. Plus, since Father Time has been knocking at their doors, the duo also needs to deal with health issues that come with their age.

There are some powerful themes to explore regarding Marcus and Mike’s realization that they are no longer young. However, instead of doing that, Ride or Die will use a near-death experience as a recurring joke and give all of its screen time to a half-baked police case that serves only to pay homage to the previous chapters of the franchise.

The story of Ride or Die kicks off when the late Captain Howard is framed as a mole who worked with the cartel to undermine Miami’s police forces. After that, Mike and Marcus decide to clean the name of their old friend, putting their lives and careers on the line. Along the way, they enlist the help of Mike’s murderous son, Armando (Jacob Scipio), who has been locked up since the events of Bad Boys for Life.

Since the truth died with Captain Howard, Ride or Die quickly becomes a clumsy treasure hunt in which Marcus and Mike need to find clues hidden by their late friend. That usually means revisiting the details of their old cases and meeting with characters in the three previous movies. In addition, since the Captain was investigating a decade-old conspiracy before he was assassinated, former antagonists and allies also cross paths with Marcus and Mike.

There are two main problems with Ride or Die’s narrative approach. First, the new movies were supposed to represent a new start for the franchise. Instead, Ride or Die constantly looks at the past to the point where it forgets to bring anything new to the silver screen.

Furthermore, since the Bad Boys movies are mostly standalone stories, it makes no sense to ask the audience to do some homework before Ride or Die. Yet, without rewatching the previous films, it’s impossible to who the many known faces suddenly pop up in Ride or Die are, harming pacing in the name of fan service.

Alienating audience who have not been following a film franchise is not a problem per se – the MCU and even Fast & Furious have been doing that for years. Still, that doesn’t mean every sequel has to follow the same mold. Most sequels would fare better without unearned sentimentalism.

It’s easy to understand why Ride or Die chose this. Bad Boys for Life made more than $400 million at the international box office, almost doubling the profits of Bad Boys – which in turn doubled the gain of the first movie. The temptation of turning Bad Boys into the next multimillion-dollar franchise is too great for producers to exist. It’s just a shame that Ride or Die shows that the film series is trying to copy other more successful IPs instead of doing something fresh.

Those who can get past the uncomfortable new direction Ride or Die takes the titular bad boys will find more of the same. That means your mileage will vary, depending on how demanding you are. Ride or Die still features Smith and Lawrence spitting one-liners at each other as fast as the human mouth can formulate words, a gimmick that gets more tiresome after each movie. 

As for the film’s central mystery, the investigation will unfold precisely as expected, and the most obvious people will reveal themselves as traitors. That might be enough for some casual entertainment. Still, after Bad Boys for Life highly improved the franchise’s writing, it’s impossible to ignore that Ride or Die takes a huge step back. On that note, Eric Dane draws the shortest stick of the production, being forced to play a unidimensional antagonist who follows all the lessons of the 101 Evil Guy class – in Ride or Die, villains can only be targets, not people.

Marcus and Mike’s invulnerability also reaches new heights in Ride or Die. There have rarely been moments of genuine tension in the franchise, as we always expect the good guys to come out unscathed. Nevertheless, even for a low-stakes movie, Ride or Die pushes its luck, putting Mike and Marcus in the middle of gunfights that challenge everyone’s suspension of disbelief. Again, that might not be a sin for people just looking to watch a new action movie in theaters, but it’s still worth mentioning as it will bother some fans.

Where Ride or Die stands out in comparison to its predecessors is the production value of set pieces. Directors Adil El Arbi and Bilall Fallah have an undeniable talent for finding new ways to shoot an action scene. In Ride or Die, they build upon everything they used in Bad Boys for Life, using the AMMO as an excuse to include drones and aerial takes in all the most significant gunfights. The directorial duo also keeps the vibrant editing they chose for Bad Boys for Life, counting on colorful lights and unexpected twists of the camera to echo Miami’s energy.

Despite the director’s best efforts, the script of Ride or Die is just too messy and shallow for the movie to offer anything but a forgettable experience. That might be enough for diehard fans of Smith and Lawrence’s iconic characters. It surely isn’t enough to make this a good movie.

Miami’s most dynamic detective duo, Mike Lowrey and Marcus Burnett, are ready to bring the heat up in Bad Boys: Ride or Die this Summer. But how big has the film catalog of the $840 million buddy cop franchise grown with the latest film?

The Bad Boys film franchise has become a cornerstone in the action-comedy genre with its high-octane action and larger-than-life entertainment. The first Bad Boys film arrived in 1995 when buddy cop films were at the zenith of their popularity. Will Smith and Martin Lawrence lead the film as Miami PD detectives Mike and Marcus, providing a refreshing take on the genre with a blend of sharp humor. This soon cemented the film’s status as a cultural touchstone of the 1990s.

The success of the first Bad Boys film set the stage for subsequent installments, leaving fans eagerly awaiting the return of their beloved Bad Boys duo to the screen again. As the franchise evolved over the years, the film’s sequels delved deeper into the themes of changing times, including the complexities of law enforcement. This allowed the franchise to endure its popularity despite the lengthy hiatus between films.

Almost three decades after the first Bad Boys film debuted, the franchise is still growing and set to bring another adrenaline-fueled spectacle to the screens in 2024. Titled Bad Boys: Ride or Die, it will be the fourth feature film in the franchise and is due to be released in the United States on June 7, 2024. Here are all Bad Boys films in order if you’d like to catch up on Mike and Marcus’ previous adventures before diving straight into the action.

1. Bad Boys (1995)

The film where it all started, the 1995 Bad Boys movie introduced us to our Bad Boys as they investigate and recover $100 million of seized Mafia heroin in 72 hours. Directed by Michael Bay in his feature directorial debut, the film lacked a powerful plot according to critics. However, the chemistry between Will Smith and Martin Lawrence made up for it, instantly clicking with the viewers.

Despite receiving mixed reviews from critics, Bad Boys proved to be commercially successful at the box office, grossing $141 million worldwide. The film also inspired an Indian film titled Bade Miyan Chote Miyan, which premiered in the Indian cinemas in 1998.

2. Bad Boys 2 (2003)

Eight years after the first film graced the theaters, Bad Boys 2 was released in the U.S. theaters on July 18, 2003, after a chain of script rewrites. The film picks up eight years after the events of Bad Boys (1995) and focuses on Mike and Marcus investigating drug trafficking of ecstasy in Miami. The film was heavily criticized for its overuse of explosive scenes to make up for the lack of a compelling plot.

According to critics, the banter between the characters also seemed witless, even leading to a controversy regarding one scene involving a teenage boy making racist comments. But despite all the negative reviews, it performed fairly well commercially, grossing $273 million worldwide against a budget of $130 million.

3. Bad Boys for Life (2020)

Directed by Belgian film director duo Adil & Bilall, Bad Boys for Life came after much contemplation following the negative reception of Bad Boys 2. After multiple attempts to enter production, the project was finalized in Oct. 2018. It ended the 17-year hiatus of the Bad Boys franchise and was released on Jan. 17, 2020. The film follows our Bad Boys confronting personal and professional challenges as they team up to take down a vengeful cartel leader.

Unlike the last two films, Bad Boys for Life was well-received by critics and became the highest-grossing film in the franchise. It collected $424.6 million worldwide, against a production budget of $90 million. The film was credited for reinvigorating this long-dormant franchise, which led to plans for another sequel.

4. Bad Boys: Ride or Die (2024)

The fourth film in the franchise, Bad Boys: Ride or Die entered development merely days after the release of Bad Boys for Life in Jan. 2020. However, the production was reportedly halted due to the incident with Smith slapping Chris Rock at the 2022 Academy Awards ceremony. The film entered pre-production again in Feb. 2023 and is now set to release on June 7, 2024. Despite reports of Smith dropping out of the film, he and Lawrence will reprise their roles.

Bad Boys: Ride or Die will be set four years after the events of Bad Boys for Life. The official synopsis of the film reads (via IMDb): “This Summer, the world’s favorite Bad Boys are back with their iconic mix of edge-of-your-seat action and outrageous comedy but this time with a twist: Miami’s finest are now on the run.” Adil & Bilall will return to the directing chair with Chris Bremner returning to write the script.

Michael Bay is the living, breathing definition of cinematic excess, with almost his entire filmography taking a kitchen sink approach to both its narrative subtlety and explosive action sequences. Despite being in the game for almost 30 years, though, nothing encapsulates his bespoke approach better than Bad Boys II.

At 147 minutes it dramatically overstays its welcome by at least half an hour, there’s a body count so high it beggars belief, enough pyrotechnic set pieces to fill at least three smaller movies, dialogue and banter that’s questionable at the best of times, and the encroaching sense that maybe there’s such a thing as too many shootouts, car chases, and bullet-riddled carnage for a solitary feature.

That being said, genre junkies have a very soft spot for Bad Boys II, which is understandable when it ticks far too many boxes in of wall-to-wall chaos. It’s the ultimate example of Bayhem that remains the apex of its originator’s distinctive style a full 20 years on from release, even if it did accidentally almost kill the franchise.

For the longest time – despite Will Smith and Martin Lawrence repeatedly telling us otherwise – a third installment never came all that close to escaping development hell. Call it a coincidence, but when it did, the first chapter not directed by Bay scored the best reviews and biggest box office of the trilogy.

Bad Boys II remains ideal “turn off your brain” viewing, to be fair, and that reputation evidently isn’t going anywhere after FlixPatrol named it as one of the most-watched titles on Prime Video, Rakuten, and Starz heading into the weekend.

The buddy cop genre—a veritable pillar in the annals of Hollywood cinema— is like a delightful cocktail of humor, action, and bromance, serving up thrilling stories that remind us how the unlikeliest of duos can form the most heartwarming connections. Often, these stories focus on two law enforcement officials who are polar opposites, forced to work together in an uncomfortable collaboration only to form an unexpected bond. 

It all started in 1982 with the breakthrough film 48 Hrs., which paired a tough cop with a wisecracking crook. This unusual pairing set the tone for several films to come, with their glaring differences resulting in intriguing on-screen chemistry and bright, comic dialogue. Soon after, the 1987 release of Lethal Weapon cemented the genre’s popularity, showcasing a successful blend of action, comedy, and drama that gave both an emotional effect and an engaging viewing experience. Since then, the buddy cop movie has come a long way, with many classic examples to choose from. 

The success of buddy cop movies usually hinges on the dynamic between the two main characters. Furthermore, these films frequently represent the spirit of inclusivity and togetherness, proving that people from all origins can transcend their differences and work together to achieve a common objective. So, without further ado, here are the ten best buddy cop movies of all time, each with a perfect blend of action, comedy, and on-screen companionship.

10. End of Watch (2012)

The action thriller End of Watch, written and directed by David Ayer, who is known for his realistic depictions of police officers, follows the formula of the buddy cop genre by having two LAPD officers work together. Still, instead of the usual comedy, it provides a gritty and fascinating look into their life on the job. The film follows officers Brian Taylor (Jake Gyllenhaal) and Mike Zavala (Michael Pea). It is told in a found-footage style, with material from the officers’ body cameras, handheld cameras, and other surveillance footage driving the narrative. 

This novel approach gives the film a sense of immediacy and authenticity, letting the audience feel as though they are riding along with the protagonists. The relationship between Taylor and Zavala is essential to End of Watch. As they face challenges in their personal lives and the line of duty together, they form a close friendship that transcends their professional relationship. 

9. The Other Guys (2010)

The Other Guys, directed by Adam McKay, who previously worked with Will Ferrell on Anchorman and Step Brothers, is the duo’s take on the buddy cop genre, and the result is a picture that serves as both a parody of and homage to the best examples of the genre. Detective Allen Gamble, played by Will Ferrell, is a mild-mannered forensic ant who is more at home in the office than in the field. Terry Hoitz (Mark Wahlberg) is his recalcitrant partner, a fierce and fiery detective forced to desk duty after an embarrassing event. 

When Gamble discovers a questionable permit connected to a wealthy investor, he and his partner find themselves in a high-stakes financial plot. The Other Guys does a fantastic job of parodying many of the conventions of the buddy cop genre. The film’s humor comes primarily from its clever subversion of expectations, whether poking fun at the reckless actions of “hero” officers (embodied by Samuel L. Jackson and Dwayne Johnson in cameo parts) or the genre’s clichéd one-liners. 

8. Hot Fuzz (2007)

Hot Fuzz, directed by Edgar Wright and written by Wright and Simon Pegg, is a British action comedy that follows Shaun of the Dead (2004) and comes before The World’s End (2013) as part of Wright, Pegg, and Nick Frost’s Three Flavours Cornetto trilogy. An excellent parody of the buddy cop genre and Hollywood action movies, Hot Fuzz is hilarious. The film follows London police officer Nicholas Angel (Simon Pegg), who excels so much at his work that he brings down the reputations of his fellow officers. 

Therefore, he has moved to the remote English community of Sandford, known for its peace and (apparent) lack of apparent crime. Danny Butterman (Nick Frost), the earnest but clumsy son of the town’s police chief, is his partner there. As the movie unfolds, Angel’s meticulousness reveals a series of strange events hinting at a darker presence in the otherwise picturesque town. The film’s finale is a marvelous parody of the over-the-top action sequences typical of Hollywood blockbusters, brilliantly blending aspects of action, horror, and comedy. The unique brand of British humor in Hot Fuzz and the witty interplay between Pegg and Frost make it a smash hit.

7. Kiss the Girls (1997)

Gary Fleder helmed the American thriller Kiss the Girls, which delves into the realm of the mind. The film is based on James Patterson’s eponymous best-selling novel. Although it isn’t a funny buddy cop film in the typical sense, it does depict the intense relationship of two detectives working together to find a serial kidnapper and killer. Morgan Freeman plays Alex Cross, a forensic detectiveand psychologist, and Ashley Judd plays Kate McTiernan, a detective and kickboxing instructor. 

The story develops as Cross becomes involved in the case after his niece becomes a victim of the serial kidnapper. After McTiernan narrowly escapes the kidnapper’s hideout, she s Cross to unravel the mystery and catch the perpetrator. One unique aspect of Kiss the Girls is its twist on the buddy cop genre; while the essential element of cooperation between law enforcement officials is there, the film departs from the norm by delving into a serious and deep plot. The film’s emphasis on the psychological challenges of locating a serial killer creates an atmosphere of constant suspense. 

6. The Nice Guys (2016)

The 2016 action comedy The Nice Guys was written and directed by Shane Black, who also contributed to the buddy cop genre with his work on Lethal Weapon. Ryan Gosling and Russell Crowe, the film’s leads, bring their unique acting skills to the table and make a dynamic duo. The 1970s Los Angeles setting of the film helps set it apart from other buddy cop films with its blend of neo-noir intrigue and comedy. 

Gosling plays private investigator Holland March, and Crowe plays hired enforcer Jackson Healy, who have to work together to solve the mystery of the apparent suicide of a fading pornstar. But as they dig deeper, they find evidence of a plot involving people at the top of the government. Gosling plays a fumbling, often inebriated investigator, displaying his incredible comedic timing. Crowe brings a world-weary charm to the stern and physically imposing Healy. The surprising connection between the two leads results in several amusing and touching scenes. 

5. Men in Black (1997)

Based on the comic book series by Lowell Cunningham, Men in Black, directed by Barry Sonnenfeld, is an innovative and enjoyable take on the buddy cop genre that also incorporates a science fiction theme. Agents K and J of The Men in Black, played by Tommy Lee Jones and Will Smith, respectively, are the film’s focus. While keeping the public in the dark about aliens’ presence on Earth, the agency aims to govern and oversee alien activity here. 

Agent K is a stickler for the rules and has a dry sense of humor, whereas Agent J is a charismatic ex-NYPD detective. Their chemistry is reminiscent of the familiar “buddy cop” pairing of an experienced officer and an inexperienced recruit. Still, the added challenge of alien encounters gives the film a unique and exciting twist. Legendary monster make-up artist Rick Baker gives the aliens a funny, hideous look that contributes to the film’s overall appeal. 

4. Lethal Weapon (1987)

A compilation of buddy police movies would be lacking without Lethal Weapon. This 1987 action classic, directed by Richard Donner and written by Shane Black, catapulted the buddy cop genre into the mainstream and has since become a classic, revered by both audiences and critics alike. Mel Gibson and Danny Glover star as LAPD detectives Martin Riggs and Roger Murtaugh, respectively, in this movie. Gibson’s character, Riggs, is a former Special Forces soldier grieving the loss of his wife. His behavior is erratic and dangerous, and his coworkers call him a “lethal weapon.” Glover’s character, Murtaugh, on the other hand, is an older family man who is only seven days away from retirement when the film begins. 

Riggs, the suicidal wild cannon, and Murtaugh, the careful, by-the-book veteran, make for an enjoyable, entertaining, and occasionally stressful on-screen friendship. After a young woman is murdered, Riggs and Murtaugh investigate the case, which takes them into the murky underworld of drug trafficking and former military mercenaries. Throughout the inquiry, they become closer and learn to work together, creating a personal connection that humanizes their characters beyond their positions as police detectives. 

3. Bad Boys (1995)

Bad Boys is an action comedy directed by Michael Bay, and his debut feature film. The film stars Will Smith and Martin Lawrence and signaled the start of the famous Bad Boys franchise. It became a quintessential example of the buddy cop genre in the mid-’90s. The story follows Will Smith’s Mike Lowrey and Martin Lawrence’s Marcus Burnett, two detectives working in Miami. The dynamic connection and humorous banter between Burnett, a family guy living a modest lifestyle, and Lowrey, a well-dressed, smooth-talking ladies’ man from a wealthy background, is a result of their strikingly different personalities. 

In a high-stakes operation, the two are sent into the dangerous world of a vicious French drug lord to recover a stash of stolen cocaine. The comedy and high-octane action in Bad Boys is thrilling. The film is typical of Michael Bay, with car chases, gunfights, and explosions. However, the film’s success rests on the connection between Smith and Lawrence. Their chemistry and comic timing provide some of the film’s most memorable exchanges. 

2. Rush Hour (1998)

Filmmaker Brett Ratner and screenwriters Jim Kouf and Ross LaManna brought Rush Hour to theaters in 1998. It was a standout among buddy cop movies thanks to the clever way it merged American and Chinese filmmaking styles. As Chief Inspector Lee, Jackie Chan, known for his martial arts prowess and willingness to do his own stunts, adds a fascinating depth to the action scenes. Chan’s action-oriented persona is nicely balanced by Chris Tucker’s Detective James Carter, whose rapid-fire humorous delivery makes for a riveting and enjoyable blend of comedy and action.

Filmed in both Hong Kong and Los Angeles, Rush Hour follows Lee and Carter as they work together to find the Chinese Consul’s kidnapped daughter. The film’s humor stems from the contrast between Lee’s discipline and dedication and Carter’s sarcasm and tendency to break the rules. Lee and Carter are two very different people, yet they learn to respect and appreciate one another by the film’s end. Their chemistry makes Rush Hour stand out as more than just a standard action flick.

1. 48 Hrs. (1982)

The classic action comedy 48 Hrs., starring the dynamic duo of Nick Nolte and Eddie Murphy and masterfully directed by Walter Hill, is the pioneer of the buddy cop genre. It’s like the OG that paved the way for all the hilarious and action-packed cop movies we enjoy today. The plot revolves around hard-boiled investigator Jack Cates (Nick Nolte) of the San Francisco Police Department, who is compelled to work with cocky ex-con Reggie Hammond (Eddie Murphy) to solve a pair of cop murders. 

One of the most exciting aspects of 48 Hrs. is the relationship between Cates and Hammond. Cates is a rough-and-tumble police officer, while Hammond is a smooth and slick criminal. Their adversarial relationship evolves into mutual respect as they work together to solve the crimes, giving the movie both dramatic weight and humorous touches. Eddie Murphy’s performance is one of the film’s high points. Despite being his first feature picture, Murphy steals the show with his superb comedic timing and charismatic presence. 

Looking at the overwhelming success of both the movie itself and the key players involved in its creation, not to mention an enduring legacy as a classic of the genre, it’s easy to forget that Bad Boys holds a shockingly low Rotten Tomatoes score of just 42 percent.

Ignoring the fact it earned $141 million at the box office on a $19 million budget, breathed new life into the stagnating buddy cop caper, and spawned a beloved franchise that continues through to this day, the lasting legacy of the high-octane thrill ride is the impact director Michael Bay and star Will Smith would go on to have on the entire blockbuster arena.

At the time Bad Boys was released, Bay was a music video and commercial wunderkind making the step up to feature filmmaking, while Smith was still a small screen sitcom actor. Fast forward just a few years, and the former had established a unique aesthetic that inspired a slew of imitators, with The Rock and Armageddon both firming up the template that became known as Bayhem.

As for Smith, he immediately followed it up with Independence Day, Men in Black, and Enemy of the State, cementing himself as the biggest A-list draw in Hollywood, and that’s before he became the first (and so far only) actor to headline eight consecutive $100 million domestic hits, none of which would have been possible were it not for Bad Boys.

More than a quarter of a century later, and streaming subscribers still can’t get enough of Mike Lowrey and Marcus Burnett, with Smith and Martin Lawrence’s maiden voyage into running and gunning ranking as one of the top-viewed titles on iTunes this week per FlixPatrol, once again underlining the film’s all-timer credentials.

Hollywood director Michael Bay, who is currently busy with the press tour for his latest film Ambulance, has come out to say that Sony didn’t think that Bad Boys would sell in an overseas market.

The film director made the claim in an interview with Entertainment Weekly as the discussion eventually veered towards the signature panning shot seen in the 1995 film. Bay said that the shot was made because Sony didn’t believe that a film starring two black guys would sell overseas. He also claimed that since that shot was made, other filmmakers have even tried to imitate it. But the most important thing was that Bad Boys “changed the game” for black actors.

“I’ll tell you how that shot came up in Bad Boys. Sony didn’t believe in the movie, because two Black actors don’t sell overseas. They had no faith in it. I was watching James Cameron’s True Lies and I’m like, Oh, my God, this guy has so much money. I have only $9 million. And they shut me down, literally. They shut the power off. That’s how rude they were on this movie.”

What really worked in Bay’s favor was his own experience on film sets where he had worked on videos, commercials, etc., and learned “how to deal with a–holes.” As for the famous circle shot in the film, the director revealed that it was a sudden stroke of inspiration.

“For some reason, I just came up with this shot as we’re driving. And we made this round move and you guys rise up and it became a very famous shot. People try to imitate it, but it was a seminal moment. Bad Boys literally changed the game on Black actors. It’s the first movie that really traveled overseas.”

Bad Boys is a buddy cop action film directed by Bay and stars Will Smith and Martin Lawrence. The film earned $15 million during its opening and grossed over $65 million worldwide. The film was soon followed by a sequel in 2003, Bad Boys II and Bad Bous for Life in 2020.

Ambulance stars Jake Gyllenhaal, Yahya Abdul-Mateen II, and Eiza González and is out in theaters.

Michael Bay has already made it perfectly clear that he’s got no interest in discussing the fallout from Will Smith’s behavior at the Oscars, which recently saw the Best Actor winner banned from all Academy events for the next 10 years.

However, the filmmaker did play a massive part in turning the former Fresh Prince from a small screen sitcom star to one of the biggest, most popular, and bankable names in the industry after casting him in Bad Boys over a quarter of a century ago, so it was inevitable that Smith’s name would come up while Bay is on the press circuit promoting Ambulance.

Not for the first time, Bay addressed the situation during an interview with Entertainment Weekly, before answering definitively in the affirmative when asked if he would work with the 53 year-old again.

“At first, immediately I’m like, Did this just happen? Then I saw the yell from Will. That’s a real Will yell. Will is an amazing fighter. He’s studied boxing. First of all, it’s wrong to do, no matter what. Let’s just get that out there. But when people said, “Oh, he could have killed him.” No, a slap is different. A punch? Yeah, you can kill someone. Will gave him a slap. I’m thinking, Everyone’s talking about this, but you know what? You start thinking about life and it’s like, Oh, my God.

Because I’ve been very affected by this Ukrainian war right now. I’m friends with the Klitschko brothers. I’ve been to Kyiv, I’ve met with the mayor. And I’m like, you know what? There are babies getting blown up by the hundreds right now and people are so concerned about this. I don’t know. To me, it’s just like, enough of it. All right, so a dramatic thing happened, but I just think we’ve got to get our priorities straight. Absolutely, 100%. He’s a very even-keeled guy. Very even-keeled.”

They’ve never collaborated outside of the Bad Boys franchise, and with Smith seeing his slate of projects being halted, scrapped, or doused in uncertainty, maybe going back to his roots and throwing himself headfirst into some old-fashioned Bayhem could turn out to be the kick-start his storied career might need.

Looking back, Bad Boys might not rank as one of the very best action blockbusters to arrive during the positively stacked 1990s, but it was definitely one of the most important.

Not only did the buddy cop adventure elevate Will Smith from sitcom favorite to genuine movie star, setting the stage for a big screen career that was about to rocket into the stratosphere, but it also marked the feature-length directorial debut of Michael Bay, with the aforementioned pair remaining two of the genre’s titans to this day.

However, the filmmaker recently hopped onto social media to reveal his single biggest regret from shooting Bad Boys, which has absolutely nothing to do with the content of the film itself. Instead, he laments the fact that the Porsche he sold to a friend for $60,000 ended up being auctioned off for a cool $1.3 million.

We can safely say that Bay hasn’t been living on the breadline for the last quarter of a century, but the price of any vehicle is going to shoot up when people find out that not only was it Bay’s very own personal mode of transport, but it was used as a key part of a beloved action classic like Bad Boys.

Looking back, 1995 action comedy Bad Boys might have been one of the most influential movies of the decade in retrospect. It marked the feature directorial debut of Michael Bay, who would go on to become one of the most recognizable and commercially successful directors in the industry, while the two stars haven’t done bad for themselves, either. Will Smith was still the Fresh Prince of Bel Air when Bad Boys hit theaters in April 1995, with the sixth and final season of the beloved sitcom not premiering until five months after the R-rated smash hit was released. As for Martin Lawrence, he was still best known as a comedian and was himself in the middle of headlining his own small screen comedy when they teamed up for the buddy cop actioner. Fast forward to the end of the 90s and Bay had massively successful blockbusters The Rock and Armageddon under his belt, while Smith rapidly ascended up the Hollywood ladder to become the biggest star in the business after going on to headline Independence Day, Men in Black and Enemy of the State, none of which would have happened without Bad Boys. To celebrate the 26th anniversary of the movie’s release, Smith and Lawrence reunited once again, and you can check out their video below.

 

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Three installments in 26 years is hardly a great return in the era of franchise filmmaking, but Bad Boys For Life became the highest-grossing entry in the series yet and one of the biggest box office successes of last year after earning over $426 million. A fourth outing was put into active development shortly after, too, but hopefully we don’t have to wait another seventeen years to see Mike Lowrey and Marcus Burnett again.