These bad boys may be old men but they’re still a damn good time.

Spread across four separate decades, the Bad Boys series has slowly but surely worked its way up to become a true franchise success story. From a bombastic Michael Bay blow ‘em up plaything to something far more reflective and far more self-aware, the longevity of the franchise has been remarkable, adapting to shifting audience tastes and the ever-evolving dynamics of the film industry surprisingly well.

That said, there’s simply no escaping the fact that, with two stars nearer to the end of their careers than the beginning and boasting a concept that’s always had a natural ceiling to it, there will undoubtedly come a time when the gas in the Bad Boys tank will eventually run out. But is that time now?

When their late boss, Captain Conrad Howard (Joe Pantoliano), is framed for having links to Miami’s drug cartels, wisecracking cops Mike Lowrey (Will Smith) and Marcus Burnett (Martin Lawrence) embark on a perilous mission to set the record straight. However, as the pair race against time to clear Howard’s name they’re both framed as accomplices and become fugitives from their own police department. Drafting in Mike’s convict son, Armando (Jacob Scipio), to assist them with the case, the two veteran cops must risk it all for the truth before it’s all too late.

Say what you like about him (and trust me, I’ve said plenty), there’s no doubting just how unique a filmmaker Michael Bay is. Despite attracting the ire of every film critic going, his brash and brazen style is a law unto itself and a singular directorial approach that, for better or worse, set the blockbuster tone for many years to come.

As such, when he finally stepped away from the Bad Boys camera, he left some rather large (probably explosive) shoes to fill, as he, after seventeen long years, eventually handed over the directorial reigns to someone new. Or, to be precise, someone-s new.

If there was ever any pressure to live up to the Bay-hem that went before them, it really hasn’t showed, because the way Adil El Arbi and Bilall Fallah (or simply Adil and Bilall) seamlessly stepped into the director’s chair for Bad Boys For Life was nothing short of exceptional. Without missing a beat, the duo managed to rejuvenate a long-dormant franchise, immediately proving to the world that Mike Lowrey and Marcus Burnett could still hang, while acknowledging that the pair were no longer the young, sprightly Miami cops they once were.

For a franchise many had long considered dead, it’s no mean feat to breathe new life into the Bad Boys name, however, not only did Adil and Bilall do it, they did it in style. Finding a way to balance reverence to the first two films while putting their own stamp on things, the directing duo would prove with Bad Boys For Life that this is a series that could still go, and in Bad Boys: Ride or Die they’ve managed to take it all one step further.

Injecting a level of affability, relatability, and heart into the franchise we’ve rarely seen before, Adil and Bilall have well and truly made Bad Boys their own, and Ride or Die perfects this formula masterfully. With clear respect for what went before, this fourth entry in the long running series operates well as a ‘greatest hits’ compilation of the franchise so far, while always keeping an eye on the need to stay fresh and interesting.

Picking up on character moments and plot strands left dangling from its predecessors, there are satisfying little treats and Easter eggs scattered along the way for those who’ve loyally stuck with the franchise since the beginning. Whether it’s returning characters, running gags, or signature action sequences, there’s a highly satisfying level of nostalgia present here, however, Ride or Die’s directors know full well that this alone is unlikely to get them by.

Sure, pure nostalgia could’ve got this film to a point, and it certainly would’ve been tempting for its directors to grab at this low hanging fruit, so credit must go to Adil and Bilall for their determination to push the boat out at least a little. Of course, there’s nothing Earth-shattering or overtly mind-blowing about what Ride or Die is aiming for here, however, the desire to try something a bit different with such an established franchise must be applauded.

Of the many examples of this balance between nostalgia and originality, by far the most impressive is Ride or Die’s action. Sporting that trademark OTT insanity Michael Bay introduced us to, Ride or Die’s action is exactly the kind of gleeful excess we’ve come to expect from this franchise, however, in amidst the trademark action absurdity and instantly recognisable plot beats, something pleasantly new awaits us.

Through inventive camerawork, genuinely innovative setups, and a tonne of fun, creative editing, Adil and Bilall put everything they’ve got into proceedings, taking what they achieved in Bad Boys For Life and cranking it up a notch. The result is a veritable whirlwind of action creativity and a real breath of fresh air within a genre that so often takes the easy route.

Complementing this well, the film’s narrative also sports a solid mix of familiarity and innovation that takes many of the plot points from the first three films and gives them all a satisfying little twist that, while thoroughly within the franchise’s comfort zone, at least offers something new and engaging enough to avoid feeling like a complete rehash.

Granted, as the plot mechanics struggle to kick into gear, things get off to a sluggish start, however, when the action finally clicks and our stars finally find their feet, there’s no looking back. From this moment on, Ride or Die really finds its groove and, being the fourth film in a long running series, is clearly comfortable with what it has to offer and how important it is to just kick back and let its two stars do their thing.

If it weren’t abundantly clear before, it should be now, but Will Smith and Martin Lawrence aren’t just the stars of the Bad Boys franchise, they ARE the Bad Boys franchise and, as with previous instalments, Ride or Die operates best when leaning into the irrepressible chemistry between the two. Manic, funny and with a level of heart that’s grown with every entry in the series, the banter between Smith and Lawrence is as strong as it’s ever been, managing to elevate Ride or Die above your average action flick.

Slap or no slap, Will Smith proves once again that he still has that x-factor and the kind of priceless star quality that feels so rare in modern cinema, as he jumps back behind the Mike Lowrey wheel without missing a beat. It’s undoubtedly been a rough couple of years for the Oscar-winner, but let it never be forgotten just how much of a megastar the man is, a factor complemented perfectly by his Bad Boys soul mate.

While he’s never quite scaled the same career heights as his co-star, Ride or Die makes a solid case that Martin Lawrence is just as important to the franchise – if not more so – than Will Smith. In the form of his career (or at least the kind of form we haven’t seen for a long, long time) Lawrence is given the best material of both this film and the entire franchise as he balances his usual gurning comedic shtick with a fair dose of emotion to positively steal the show.

As ever though, the true success of Ride or Die comes via the little cameos and side characters that bulk out the Bad Boys world. Whether it’s a welcome back-from-the-dead appearance from Joe Pantoliano’s Captain Howard, Jacob Scipio’s redemption ark as former villain Armando, or a genuinely fist-pumping, film stealing moment from Dennis Greene’s Reggie, the film’s ensemble is as strong as it’s ever been, only let down by a rather one-note villain and the disappointing waste of Rhea Seehorn’s talents.

Ultimately, however, the Bad Boys franchise remains the Mike and Marcus show through and through, and it’s in Smith and Lawrence’s continued chemistry that this film and this franchise, despite its advancing years and greying hairs, shows no sign of slowing.

Not many franchises manage to save their best stuff for the fourth instalment, but then most franchises aren’t Bad Boys. Granted, Bad Boys: Ride or Die won’t be changing the world any time soon, however, innovative action, a healthy dose of heart, and two in-form stars all combine to override its messiness, cliches, and glaring plot issues, proving that this franchise has more than enough gas left in the tank. Who knows where the Bad Boys series goes from here, if anywhere, but if this truly is it, what a way to ride into that yellow tinted Miami sunset?

Bad Boys: Ride or Die is in cinemas worldwide now.