Bad Boys for Life
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Bad Boys for Life

Bad Boys for Life however you look at it, the world didn’t need this movie. And it is possible, although not entirely Bad Boys for Life probable, that this is the reason why Michael Bay – who in ‘Two rebel policemen’ (1995) made his aesthetic identity known and in ‘Two rebel policemen 2’ (2003) He exaggerated them to the point of involuntarily bringing them closer to the terrain of parody – he has decided not to go behind the camera this third time. And, in any case, not even diehard fans of the saga should miss him because his successors in the position, Belgians Adil el Arbi and Bilall Fallah, are frankly adept at mixing comedy with drama – sometimes in the same scene – and character development with the orchestration of great action choreographies.

It is in the latter, and in their tendency to cross the border that separates the credible from the absurd, that the kinship between ‘Bad Boys for Life’ and its predecessor films is especially clear. For the rest, Arbi and Bilall do not hesitate to borrow from ‘Fast & Furious’ – it is fair, considering that that series would not exist without having this one as a model – or to play with the aesthetic tics popularized by Bay with a certain will subversive. And in the process, without needing to take itself seriously, the film manages to load the characters with more emotional breadth than they ever had before, and make us empathize with their concerns about their old age, their finiteness and the uncertainty place in the world that they occupy as well as the saga to which they belong.