![]() ![]() The first continues to evolve, ending in a stunning moment where water floods the scene, changing the entire heist while building upon the expertly set up geography of the area. The last hour alone features an elaborate heist that breaks bad and a superhero-inspired shootout on a boat with magnets controlling everything. On the other hand, in Bay’s own 6 Underground, the car chase is just one of three bold, bonkers action sequences. Its use of lightning and classic horror iconography is interesting, but never really matches the bombastic direction of Bay’s films. Sure, the film doesn’t handle this with too much nuance, but it dives into a character’s consciousness and surrounds them with likable characters who care about them, a first for the series.īad Boys for Life’s most memorable set piece is the third act climax, a horror-tinged shootout in a gothic mansion that eventually catches on fire. From getting gunned down in the streets by his own son in the opening act to a climactic showdown with a disenfranchised former lover, Lowrey’s past literally becomes his own worst enemy. The series’ newest entry meets this subtext head-on, forcing Smith’s character to confront the consequences of his own mistakes for a solid two hours. Burnett was largely guilty of the same actions, but it was Lowrey’s heroic bloodthirst that left a bad taste in many viewers’ mouths. But in all of this, he was psychopathic, rarely treating women as people and always looking for the next “adventure” (they usually involved killing people). A supercop who stands far above such silly things as “laws,” the movies basically granted Lowrey moral immunity, absolving him of all crimes because he always got the results he was looking for. In the first two films in the series, he was an untouchable hero. By the film’s end, it almost resembles a Fast and Furious film, convincingly building an unconventional found family.īad Boys for Life even humanizes Lowrey, who has a…complicated past on-screen. ![]() These characters, though lacking the intricate backstories of all members of the team in 6 Underground, are instantly likable. The depth of character isn’t just limited to returning Martin Lawrence’s Marcus Burnett and Will Smith’s Mike Lowrey, but also introducing new members of the team like Paola Nuñez’ Rita and Alexander Ludwig’s Dorn. On the flip side, Bad Boys for Life, the first film in the franchise not directed by Bay, is full of heart and packed with characters that are easy to love. RELATED: 6 Underground: How Michael Bay Does Action With Bayhem As has become typical with recent films from the Transformers director, the sequence succeeds in making the viewer awestruck but fails to bring anything of substance. Countless innocents die, but it is undeniably beautiful in a cold, detached sense. In 90 seconds, Ryan Reynolds’ character is established as a genius, billionaire, playboy, and philanthropist, and then the viewer is hurled into an exhausting opening set piece where a handful of cars completely destroy Florence, Italy. In the first 15 minutes or so of 6 Underground, Bay indulges in all of his best and worst instincts, delivering one of the most bewildering and entertaining car chases in the history of cinema. ![]()
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