The second big chase scene, involving a fight on an elevated train, feels pointless, and the cumulative effect of all the gunfire and wanton destruction and hyperventilating forward motion is numbing. Otherwise, the more routine the plot developments become - Tapia kills one of the Russians and takes Syd on as his money-laundering partner before kidnapping her and eventually trying to escape with his ill-gotten gains to Cuba - the more Bay gives them the hard sell, to vastly diminishing returns. Lawrence also has his moments later on when Marcus ingests some ecstasy and begins acting warm and snuggly with Mike and anyone else in his vicinity. After posing as pest exterminators to plant surveillance bugs in Tapia’s mansion, they reach their comic peak here as they ferociously confront a 15-year-old who’s come to take Marcus’ teenage daughter on her first date.
BAD BOYS 2 TV
In a long digression that might well have served as end-credits filler, Marcus and Mike indulge in an intimate discussion in a TV appliance store that is accidentally broadcast on all the monitors and is misconstrued by the shocked customers as a private talk between two gays.
The guys get the expected dressing down from their boss (Joe Pantoliano) who, like Marcus, has taken to Eastern spiritualism, therapy and anger management in an effort to cope with the rigors of his job he’s the first police captain to demand that his subordinates remove their shoes before entering his office.Īfter a very imaginatively shot gunbattle between the bad boys and the remaining Haitians in an apartment, a scene in which the opponents fire away from opposite sides of an apartment wall as the camera circles rapidly around it to cover the action in both rooms, pic settles into a comedy routine groove for a while.
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The money shots here involve vehicles being pushed off the trailer that then go bouncing, rolling and spinning unpredictably over the causeway true, this is a new trick in the chase scene lexicon, but the scene is repetitive and overdone in a way that summarizes the problems with the entire picture. In the script by the estimable Ron Shelton and Jerry Stahl, the main source of potential friction, aside from Mike having shot Marcus in the ass, lies in Mike’s recent dalliance with Marcus’ beauteous sister, Syd (Gabrielle Union), a New York DEA agent newly arrived for an undercover assignment involving some Russian criminals who themselves are heading for a showdown with their Cuban rival, Johnny Tapia (Jordi Molla).įor those who haven’t seen enough gargantuan chase scenes this summer, “Bad Boys II” features two of them, the first a pursuit involving Syd in an SUV, some Haitian thugs in a trailer truck they commandeered that’s loaded with cars, and Marcus and Mike in a Ferrari. During the gunfire that ensues, a bullet from Mike’s pistol is shown making its way toward Marcus’ butt in extreme slow motion, and it can be imagined that someone who finds this hilarious might find great amusement in the remainder of the picture.Ī leering little disco interlude designed to reveal the effects of ecstasy on club-goers could arguably stand as the quintessential Michael Bay sequence, but then it’s down to serious business, that of giving Lawrence and Smith, playing lifelong friends and partners, a long leash to indulge in their ragging-on-each-other shtick. Coast Guard, a WACS plane, the high-tech-enhanced Tactical Narcotics Team and local cops Marcus Burnett (Lawrence) and Mike Lowrey (Smith), who, in a bizarrely silly scene, pop out of Ku Klux Klan robes at a cross-burning drop point, surprising some rednecks.
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Sleek opening credits sequence lays out how $150 million in ecstasy tablets are manufactured and shipped in coffins from Amsterdam to Miami.
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Perhaps inspired by a desire to disguise the fact that this premise - it’s hardly a plot - has been used a thousand times, the filmmakers throw more money and camera setups at it than anyone has ever been able to afford before, and the film’s feel of excess in all departments curdles what occasional amusement the actors create by dint of their sheer enthusiasm. performer at the time since Lawrence and Smith were then only known as TV personalities.Īll the same, its $66 million domestic gross and $76 million overseas take were hardly blockbuster figures, and the sum of those amounts wouldn’t come close to covering the budget for this follow-up, which features the two stars as Miami narcotics detectives on the case of a Cuban drug dealer who’s on the verge of becoming the top dog in town. Original “Bad Boys” put Bruckheimer and late partner Don Simpson back on track in 1995 after a dry spell following their departure from Paramount.