Marcus Burnett is a hen-pecked family man. Mike Lowrey is more of a loose cannon. They are partners on the Miami Police Department, and they are about to take on a highly dangerous case. 100 million dollars in heroin, from the biggest drug bust of their careers, is stolen from police headquarters. Now, they have 72 hours to reclaim the heroin before the Internal Affairs Division gets involved. This puts Mike and Marcus hot on the trail of a French drug kingpin named Fouchet. Mike asks Maxine Logan, a hooker he knows, to keep an eye open for high rollers. Later, she gets a call from a guy who’s high on drugs and wants to spend $2000. Maxine asks her best friend Julie Mott to tag along with her to the home of former cop Eddie Dominguez. Julie is not a hooker but the guy’s so out of it that they’ll be out of there with the money in just minutes. But at Dominguez’s house, Fouchet kills Maxine. Julie witnessed the murder, so she contacts the police. But Julie, who doesn’t know what Mike looks like, is willing to talk only to Mike. Mike is not around, so Marcus is forced to pretend to be Mike, and when Mike returns, he’s forced to pretend to be Marcus. Marcus is a family man who has a wife named Theresa and three kids named James, Megan, and Quincy, while Mike is not, so this is not a very close fit. Mike and Marcus’s pursuit of Fouchet kicks into overdrive when Fouchet’s henchmen kidnap Julie right out from under their noses.-IMDb
With his knack for staging visually flashy blockbuster mayhem, Michael Bay became the commercial leader among a new, 1990s generation of advertising-and-MTV-bred directors. Hollywood to the core, Bay has claimed that he was the illegitimate child of a popular director of the 1970s — although he won’t reveal who — and was given up for adoption at birth. Raised in Los Angeles, he spent his childhood staging Super-8 action movies. He studied film at Wesleyan University and the Pasadena Arts Center, where a Coke commercial he shot as a student project attracted offers to make the real thing. His Coke, Nike, Budweiser, and award-winning “Got Milk?” ads resulted in a 1994 Director’s Guild nomination for Best Commercial Director. He was then tapped by producers Don Simpson and Jerry Bruckheimer to make the kind of slick escapism that defined their 1980s heyday; Bay’s directorial debut, Bad Boys (1995), became a star-maker for Will Smith and Martin Lawrence.
Bay made his movie name with… read more
"Bad Boys" is perhaps overly indebted to the amber sky'd, kinetically-shot early 90's action films of directors like Tony Scott and Kathryn Bigelow - but since when is that such a bad thing? Budgetary constraints and his status as an unproven talent seemed to bring out the best in Michael Bay. His camera is constantly mobile but, unlike his later work, the editing is paced such that the audience can actually keep up.