In order to foil an extortion plot, an FBI agent undergoes a face-transplant surgery and assumes the identity and physical appearance of a ruthless terrorist, but the plan turns from bad to worse when the same criminal impersonates the cop.
Marcus Burnett is a hen-pecked family man. Mike Lowry is a foot-loose and fancy free ladies' man. Both are Miami policemen, and both have 72 hours to reclaim a consignment of drugs stolen from under their station's nose. To complicate matters, in order to get the assistance of the sole witness to a murder, they have to pretend to be each other. Written by
James Hastie <firstname.lastname@example.org>
Michael Bay has gone on record about his dissatisfaction with the ultimate cut of he film. He expressed dissatisfaction with a number of specific shots, including the car chase following the Club Hell sequence, and one shot in which a character is thrust from an exploding airplane. See more »
When Mike and Marcus draw their guns on the store owner, Mike is on the clerk's right and Marcus on the left. However, Mike's double guns appear on the store owner's left when the camera switches. See more »
I had no high hopes when I walked into this film. I like Will Smith, I like Martin Lawrence, so I figured this film will at least be funny. And it was funny, and then some. It was action packed, thrilling and a helluva good time. I came out of the theatre thinking that the guy who directed that movie is going to be huge.
Michael Bay, former music video and commercial director, has made an incredible directorial debut. The film never stops. When it isn't action-packed, it is funny. It is sexy, fun and always moving. Christian Wagner's editing is phenomenal. I love action movies that really try to be action movies. A lot of action films know that they are action films so they try to incorporate other genres to make the film more complete, but they often fail miserably. They try so hard to be something they are not that they forget what they are in the first place. The essence of the action film is the action. It is a necessary component, it needs to be there otherwise it loses its edge. "Bad Boys" doesn't just throw in the occassional action sequence to meet the expectations of the genre, but instead uses the action to help tell the story. It is this use of filmmaking that allows an action film to remain an action film and still go beyond.
Watch "Bad Boys" again and every time there is an action sequence, ask yourself why that was there and what did it accomplish. You will find that each sequence took the film to another level; it introduced an new conflict, it increased the present conflict, it eliminated a key character, it introduced a new character, and so on. There are a lot of action films out there that sacrifice story for spectacle, and the audience notices this. At the centre of all films lies the story and if it comes to a halt so does the interest of the viewers.
"Bad Boys" of course isn't the greatest story on film, or even in the action genre, but what is so appealing and memorable about "Bad Boys" is that it is just as entertaining with its story as it is with its action by combining the two without sacrificing either. Michael Bay understands the importance of the story within the structure of the film. He tells a visual story, entertaining and complete, and leaves you very satisfied. Watch for Michael Bay because he is here to stay.
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