Bad Boys 2- From the “movieseer.com” site.

Here is movie review from movieseer.com site thank you .
This summer movie season has been dubbed the “Summer of the Sequel” by the American media, and rightly so. It seems to follow the tried and true method of movie marketing: if it worked once, it’ll work again. Michael Bay has even developed a following of his own, which happens rarely with directors primarily known for blowing stuff up. People know exactly what to expect from a Bay movie and that’s what they go to see. Couple that with the draw power of Will Smith and Martin Lawrence, and you have a project that any studio would be foolish not to green-light.

Bay and uber-producer Jerry Bruckheimer are teamed-up once again and set out to make another bullet-riddled corpse of an adventure. The only comparable flick this summer has been Charlie’s Angels: Full Throttle, simply because both follow the same formula: same director, same cast, similar script, big budget. But where Full Throttle derailed (over-directed, too goofy to be serious, too serious to be goofy), Bad Boys II stays right on track. Bay knows his audience almost better than they know themselves and he keeps this cinematic train of chaos skillfully on course.

Mike (Smith) and Marcus (Lawrence) are still working for the Miami Police Department, basking in the pink-neon glow of the city famous for excess. Marcus is still the same family man with a short fuse and Mike is still the same playboy with a fast car. After an informant tips them off to the biggest ecstasy shipment the country has ever seen, they find themselves knee-deep in bullets, drugs and bad guys — as usual. Things get a bit complicated, though, when Marcus’ sister Syd (Gabrielle Union), and her DEA team investigate the very same drug lord that Mike and Marcus are on to. What happens next? Well, in these troubled times it’s nice to see an example of two different law enforcement agencies helping each other out while trying to bring in the same bad guy, and that’s what happens. Working together, they figure out that the drugs are being shipped all over the country using a rather inventive (and pretty gruesome) method by a Cuban drug lord. And before you can say “Let’s get ‘im!”, we’re in hot pursuit up the bad-guy chain of command.

Smith and Lawrence don’t quite reach the lofty heights of buddy cop movie perfection that Danny Glover and Mel Gibson set with the Lethal Weapon series, but these two talented comedians are still very fun to watch. That said, it seemed to me that their relationship was a bit too highly strung. They spend nearly the entire movie arguing, and where the first Bad Boys portrayed them as best friends who liked to yell at each other, the sequel paints them more as acquaintances who are forced to spend all their time together. I still had to laugh out loud a few times at some very funny exchanges, especially with Captain Howard (Joe Pantoliano) who plays the stressed-out buffer between his boys and the police commissioner with great comic timing.

The camera rarely leaves the duo’s side as we follow them from one tip to the next, dodging bullets the whole way. Yes, it’s a movie, but be careful not to think about it too much because their cop methods are laughably unrealistic – if real cops behaved half as unlawfully as these two, they’d be tried for high treason. They make the LAPD look like a gang of pacifist choirboys. But the big draw of the film is — say it with me — the action, and, wow, does it ever deliver on that front. Bay seems to have tied a camera to Spiderman and paid him to swing above and beside speeding cars and bullets as they smash through nearly everything in sight. He excels in bringing the audience right into the eye of the hurricane, especially in a draw-dropping car chase that has the bad boys and an armada of police cars chasing a fully stocked car transport truck. When the heavily armed bad guys start unhooking the cars and dropping them on the road behind them, I lost count of how many went spinning past the camera in 100 mph backflips. Bay handles these scenes with the skill of a veteran pro, bombarding his audience with slick, aggressive camera moves and quick cuts that keep things moving but at the same time don’t distance or confuse the audience. (His three editors deserve special medals, as the longest shot in the movie is about three seconds long).

The script, by Ron Shelton and Jerry Stahl, certainly knows how far it can push the violence. Make no mistakes, this is a “hard R” film and should definitely not be seen by the kiddies. As an example, it wasn’t enough for a bad guy to get thrown off of a moving car — he had to spin through the air, bounce off of concrete support and fall 5 stories onto a glass kiosk. Bullets fly, blood spatters and by the end of the film, our heroes have gone from solving crimes with guns and humor to storming a Cuban drug fortress with Delta Force commandos, rocket launchers and C4 explosives. Where do they train these police officers?

The one reservation I had with the movie was that it dragged on a bit too long. I don’t have a problem with a movie having one or two almost-endings, but when your popcorn action flick passes the 2 hour and 30 minute mark, it’s time to wrap things up. Also, intimidating a young kid who has just come to your house to pick up your daughter for their first date: funny. Intimidating him with a gun: not funny. And while I’m complaining, I might as well bring up the music, which always seemed to be precluding a gunfight, even when the pace of the film slowed down; and the sound in the theatre. Movies like this deserve to be seen with a top-of-the-line sound system. Might I humbly suggest that both major theatre chains in Thailand shell out for a THX technician to spruce things up a bit.