Mike Lowrey and Marcus Burnett, who are part of the Miami PD’s Tactical Narcotics Team (TNT), still don’t always get along, and now they’re keeping secrets from each other. Mike’s secret is that he’s been seeing Marcus’ sister, Sydney “Syd” Burnett, a reported paper pusher for the DEA’s New York office. Marcus’s secret is that he has asked for a transfer, because he wants to spend more time with his family, and less time with Mike. That’s all set aside when their boss, Captain Howard, assigns them to stop the flow of record amounts of ecstasy into the city. This puts Mike and Marcus on the trail of the most dangerous enemy that they have ever faced…Cuban drug kingpin Hector Juan Carlos “Johnny” Tapia, who wants to take control of the entire ecstasy trade in the USA, and is working with local dealers and club owners such as Russian mafia boss Alexei. Every time the Miami PD has ever arrested Tapia, Tapia has sued the Miami PD for false arrest, and won millions of dollars. This has caused the department to back off and not go after Tapia. Well, everyone has backed off except for Mike and Marcus, who have never faced Tapia before. Now, it seems that Tapia is using a mortuary as a cover for his operations, smuggling ecstacy hidden inside dead bodies, while sending his money to Cuba in hidden compartments in the coffins. While Mike and Marcus try to bring Tapia down, they also deal with the discovery that Syd is actually working undercover for the DEA to bring down a money laundering operation run by Alexei, and as part of her undercover job, Syd is in deep with Tapia. When Haitian gangsters try to steal Tapia’s money and kill Syd, the two investigations cross paths. Syd’s cover is later blown, and she is kidnapped by Tapia, who takes her to his compound in Cuba. With the unofficial help of people from the CIA, the Miami PD, and anti-Castro forces in Cuba, Mike and Marcus head out to rescue Syd, and bring Tapia down. How far will Tapia go to keep his drug empire? And how far will Marcus and Mike go to rescue Syd?
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
A rarely spoken about absurdity in this film is that Will Smith's character is a really shitty person. If Michael Bay wasn't so infatuated with making him look cool in purple suits and took an 'It's Always Sunny' approach by being upfront about Mike being a psychotic asshole who ruins people's lives this could have been a really fascinating variation on cop movies. Eh.
For once during his post-millennial career, Michael Bay was cut free from the tethers of the PG-13 rating and it was a beautiful moment known as "Bad Boys II." Even moreso than 2009's much-maligned "Revenge of the Fallen," this film represents Bay's Id unleashed. It is a noisy, gratuitous, and gleefully offensive slab of Action Movie, nearly wall-to-wall with its f-bombs and automatic gunfire. Somewhere in here is a great 90 minute buddy-cop flick, but it wouldn't be a Michael Bay film if he didn't push it to 2 hours and 26 minutes. Perhaps "Bad Boys II" is exactly the monolithic and profane mega-budget blockbuster our culture deserves.