Hang on for maximum mayhem, full-on fun and the wildest chase scenes ever put on film! The action and comedy never stop when superstars Martin Lawrence and Will Smith reunite as out-of-control trash-talking buddy cops. Bullets fly, cars crash, and laughs explode as they pursue a whacked-out drug lord from the streets of Miami to the barrios of Cuba. But the real fireworks result when Lawrence discovers that playboy Smith is secretly romancing his sexy sister, Gabrielle Union (Bring it On). Director Michael Bay (Pearl Harbor, Armageddon) and producer Jerry Bruckheimer (Pirates of the Caribbean, Black Hawk Down) deliver a high-speed, high-octane blockbuster that will blow you away! \"...Year's most action-packed and high-flying flick.\" (Shawn Edwards, FOX TV).
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Roger Ebert of the Chicago Sun-Times gave the film one out of a possible four stars, especially offended by one scene involving a teenage boy and the use of the word nigga, saying, \"The needless cruelty of this scene took me out of the movie and into the minds of its makers. What were they thinking Have they so lost touch with human nature that they think audiences will like this scene\" On an episode of At the Movies with Ebert & Roeper, film critic Richard Roeper named Bad Boys II the worst film of 2003.
Among the more positive reviews was Seattle Post-Intelligencer critic Ellen A. Kim, who wrote that the film was \"mindlessly fun... If you like this type of movie, that is.\" The film was also praised by a few critics and viewers for its deftly handled action sequences and visual effects.
In June 2008, Bay stated that he may direct Bad Boys III, but that the greatest obstacle to the potential sequel would be the cost, as he and Will Smith demand some of the highest salaries in the film industry. By August 2009, Columbia Pictures had hired Peter Craig to write the script for Bad Boys III. In February 2011, Martin Lawrence reiterated that the film was in development. In June 2014, Bruckheimer announced that screenwriter David Guggenheim was working on the storyline for the sequel. Two months later, Lawrence said a script had been written and parts had been cast. By June 2015, director Joe Carnahan was in early talks to write and possibly direct the film. Two months later, Sony Pictures Entertainment announced that Bad Boys III would be released on February 17, 2017, and that additional sequel, Bad Boys IV, is scheduled for release on July 3, 2019. On March 5, 2016, the film was pushed to June 2, 2017. Producers planned to begin production in early 2017. On August 11, 2016, the film was pushed back once again to January 12, 2018, to avoid box office competition with the upcoming DC Comics film Wonder Woman, and retitled Bad Boys for Life. Lawrence revealed on Jimmy Kimmel Live! that filming may start in March 2017. On February 6, 2017, it was announced that the film's release date has been delayed for the third time, to November 9, 2018. On March 7, 2017, Carnahan left the movie due to scheduling conflicts. In August 2017, Sony removed the third film from their release schedule and later in the month Lawrence said the film would not be happening.
Although Bad Boys has its fans, the film should be remembered for introducing the moviegoing world to the visual cinematic conceits of Michael Bay and for turning Will Smith and Martin Lawrence into movie stars. The sequel, unfortunately, is a bombastic retread of its predecessor times two, made worse by a story littered with several frustrating issues that have not aged well over time. The buddy-cop antics of Lawrence and Smith blow stuff up real good on Ultra HD Blu-ray with excellent 4K HDR10 presentations and satisfying-enough Dolby Atmos soundtracks. Porting over the same set of supplements, the attractive double-feature package is Recommended for fans and those hungry for more HDR goodness.
Of course, Bay occasionally pauses here and there with a few static shots, but even then, there is continuous movement in the background or as part of an actor's performance. And sadly, such scenes are often meaningless and without importance or impact to the rest of the story. However, I will admit the opening moments of Bad Boys are the massive rare exception. In the cold open, the hilariously and beautifully rhythmic banter between Martin Lawrence and Will Smith is memorable for two reasons. First, the camerawork is more tolerable and the editing seems to amusingly follow the back-and-forth beat by beat, slowing down momentarily when the two undercover cops are being carjacked before erupting into canted low-angles. Second, the exchange between Lawrence and Smith not only flows rapidly and naturally, but the foul-mouthed dialogue signals to the audience the actors graduating from family-friendly TV fare to the R-rated silver screen. And frankly, it's their performances that actually carry the movie and make it a memorable watch, still delivering the laughs nearly twenty-five years later. (Movie Rating: 3.5)
The script, which took four writers to complete, almost seems to suggest letting the anger loose into an unchecked rage and very public, bombastic spectacles of machismo, which apparently means pointlessly enormous, chest-thumping explosions, lots of car crashes and endless gunfire. In between the deafening chaos, director Michael Bay pauses to ogle the few women on screen, which are either a nagging wife (Theresa Randle) or a tenacious badass that looks good in a bikini (Gabrielle Union). And as in the first movie, when they are not objects of desire, they're forced into the damsel-in-distress trope, no matter how potentially capable the filmmakers had previously implied they were, as in the case of Union's tough-minded DEA agent Syd. Unfortunately, all this mind-numbingly, head-shaking awfulness also sabotages what worked in the first movie. In Bad Boys II, the hilarious banter between Lawrence and Smith falls flat and largely feels contrived, making this sequel, which is essentially Bay imitating \"Bayhem\" on overdrive, a disheartening chore to finish. (Movie Rating: 2)
Sony Pictures Home Entertainment brings Michael Bay's Bad Boys I & II to 4K Ultra HD Blu-ray as an attractive four-disc combo box set. Included is a flyer for Digital HD Copies of both movies, which can be redeemed via sonypictures.com/MAredeem, Movies Anywhere or through VUDU, but both are only available in HD SDR and HDX. A thick and sturdy box with promotional pictures on either side contains a pair of digipaks that slide out from what could be either the right side or the bottom of the box, depending on how one chooses to display the set. Both sleeve paks separately house two dual-layered UHD66 discs and two Region Free, BD50 copies on opposing transparent plastic hubs. At startup, the UHD discs go straight to an interactive menu screen that changes when switching between the usual options while music plays in the background.
The HDR10 presentation also delivers a marked improvement in contrast levels, making the overall video significantly brighter and more lively with crisp, dazzling whites throughout. Specular highlights are not always consistent or the strongest, but the brightest, most intensely luminous spots dazzle the screen with a radiant brilliance while maintaining good detailing in those areas. The same goes for Howard Atherton's heavily-stylized teal-orange cinematography, which appears more faithful to his creative intentions while still skewing the palette considerably to warm, balmy amber yellows in daylight sequences and vastly vivid blues at night. Richly-saturated primaries keep the picture energetic and popping while also bathed in a colorfully wide array of secondary hues to make the unique Florida architecture burst with life and give facial complexions a true-to-life rosiness that's accurate to the hot climate. The only other issue worth pointing out is the over-saturated, almost cartoonish-looking reds in the airport hangar explosion scene. (Video Rating: 4.5)
Presented in its original 2.39:1 aspect ratio, the 4K presentation arrives with notably brighter contrast levels and brilliantly radiant whites, giving Amir Mokri's cinematography of the various tropical shooting locations a strikingly scenic charm. However, highlights fail to leave as much of an impression, as some of the brightest spots tend to run hotter than normal and considerably bloom, ruining some of the finer details. This isn't a persistent issue, but it's there nonetheless. Black levels, on the other hand, enjoy the best improvement, looking richer and more luxurious with oily shadows and strong gradational details within the darkest, murkiest corners of the frame. Given the heavily stylized photography, the overall palette is drastically skewed to favor warmer earth tones and golden yellows, and they are richly saturated with dramatic, full-bodied primaries throughout and lifelike complexions with an attractive rosiness that feels appropriate to the climate. (Video Rating: 4) 153554b96e