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In essence, Balfe has done to Mancina’s Bad Boys theme what he did to Lalo Schifrin’s Mission: Impossible themes on Fallout, and for me that was one of the most impressive things about that score. Cleverly, there are also numerous moments where Balfe strips the theme down to just a short sequence of notes, and inserts it into the fabric of the action music, ensuring that the entire thing feels like a cohesive whole. He mixes up the orchestration, the rhythmic timings, and the emotional intent – there’s a great, slow, reflective version of the theme in “Promise to God” that really changes the entire mood – and he enhances the whole thing even further with a choral arrangement in the aforementioned trio “Bad Boys for Life,” “It’s Good Shit Lieutenant,” and “We Ride Together, We Die Together,” to give the score some real dramatic depth. The fact that Nick Glennie-Smith is the one conducting the orchestra gives the whole thing a real kick of 1990s authenticity too.īut rather than simply state the theme verbatim, Balfe actually does a lot with it. I could be cruising down Collins Avenue in a top-down convertible to the sound of these beats. From the brilliant opening salvo in “Bad Boys for Life,” to the numerous subsequent statements in the blistering “It’s Good Shit Lieutenant,” “What Else You Got,” “God’s Gun,” and “We Ride Together, We Die Together,” all the ingredients are there: electric guitars, Latin percussion, modern drum kits, roaring horns, staccato string pulses, swaggering keyboards. When Balfe really goes for broke and lets loose with the theme, the effect is quite intoxicating.
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The theme is present in ten of the score’s twelve cues (the only exceptions being “Take Back What’s Ours” and the conclusive “One Last Time”), which means that the whole thing is awash in 1990s action movie nostalgia. Balfe takes the meat and bones of Mark Mancina’s original theme and goes to town with it, giving it a wonderfully enthusiastic 2020 musical update, while surrounding it with some of the most creative and enjoyable original action music I have heard in quite some time. Bad Boys for Life is one of those scores. There’s so much to gripe about in the world today and, as both a film music fan and a critic, sometimes you just want to experience a score that makes you feel good. What I enjoy about Bad Boys for Life the most is that it’s pure, old fashioned fun.
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In my estimation, Balfe is currently enjoying the longest sustained period of excellence in his career to date his score for the lavish TV miniseries His Dark Materials was outstanding and is worthy of special praise, and now Bad Boys For Life comes along and turns out to be an absolute blast of positive energy. Mancina is no longer associated with the team, so the score for the latest entry is by the ever-busy Lorne Balfe. However, just as iconic was the score by composer Mark Mancina, who contributed one of the most muscular and memorable themes of the 1990s Media Ventures power anthem era.
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The most famous part of the original movie’s soundtrack was the eponymous “Bad Boys” song by Jamaican reggae group Inner Circle, and which was well-known as the theme from the long-running TV series Cops. Lawrence and Smith return to the roles which made them famous the plot revolves around Burnett, who wants to retire from police work, teaming up with Lowrey one final time as they investigate the murders of numerous people involved in an old drug cartel case. The film was a massive financial success at the time, and spawned a sequel in 2003, but no-one expected the boys to return for a third outing – and yet here we are, 25 years removed from the original, with Bad Boys For Life, directed by Adil El Arbi and Bilall Fallah. Lawrence and Smith played Marcus Burnett and Mike Lowrey, hotshot Miami detectives who leave a trail of bullets, bodies, and profane one-liners wherever they go. Back in the spring of 1995, director Michael Bay and producers Don Simpson and Jerry Bruckheimer brought the world Bad Boys, a buddy-cop action comedy starring Martin Lawrence and Will Smith, who at that point was still best known for his role in the TV sitcom The Fresh Prince of Bel-Air, and was making his ‘leading role’ debut.