He was best known for his breakout role as Dr. Mark Sloan on Grey’s Anatomy and, more recently, for his complex portrayal of Cal Jacobs on HBO’s Euphoria.
Over a career spanning more than three decades, he became a familiar presence on both network television and the big screen.
Eric Dane, the actor who rose to fame as the charming and complicated Dr. Mark Sloan on ‘Grey’s Anatomy’ and later captivated a new generation of viewers with his performance as Cal Jacobs on HBO’s ‘Euphoria’, has died at the age of 53.
Diagnosed with ALS last year, he had been candid about his health struggles and became a staunch champion of those with the condition.
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Dane’s family released a statement:
“Throughout his journey with ALS, Eric became a passionate advocate for awareness and research, determined to make a difference for others facing the same fight. He will be deeply missed, and lovingly remembered always. Eric adored his fans and is forever grateful for the outpouring of love and support he’s received..”
Born November 9, 1972, in San Francisco, California, Eric William Dane discovered his passion for acting in high school. After relocating to Los Angeles to pursue his career, he began landing guest roles in popular television series throughout the 1990s and early 2000s.
His major breakthrough came in 2006 when he joined the cast of ‘Grey’s Anatomy’ as Dr. Mark Sloan. Originally introduced as a recurring character, Dane’s portrayal of the confident plastic surgeon — quickly nicknamed “McSteamy” by fans — proved so popular that he was elevated to series regular. The role cemented his status as a television heartthrob and showcased his ability to balance charisma with emotional vulnerability.
Following his departure from ‘Grey’s,’ Dane starred in TNT’s action drama ‘The Last Ship’, further demonstrating his range as a leading man in high-stakes storytelling.
In 2019, Dane returned to critical prominence with his role as Cal Jacobs in HBO’s ‘Euphoria.’ As the troubled patriarch navigating secrecy, identity, and control, Dane delivered a performance widely praised for its intensity and nuance. The role introduced him to a younger audience and reaffirmed his staying power in an evolving television landscape.
In addition to his television success, Dane appeared in films including ‘X-Men: The Last Stand,’ where he portrayed the mutant Multiple Man, and the romantic comedy ‘Valentine’s Day.’
Throughout his career, he navigated both professional triumphs and personal challenges, speaking candidly in interviews about struggles with health and the pressures of fame.
Eric Dane: Off Screen
Eric Dane in ‘Euphoria’. Photo: Eddy Chen/HBO.
Off camera, Dane was known for his easygoing demeanor and deep devotion to his family. He often described fatherhood as his greatest role and spoke about the importance of resilience and self-awareness.
Dane leaves behind a body of work that continues to resonate with audiences — from hospital corridors in Seattle to the fraught households of modern suburbia — and a legacy defined by talent, candor, and enduring appeal.
Releasing on Prime Video on June 25th with three initial episodes, ‘Countdown’ stars Jensen Ackles (‘Supernatural’) as Detective Mark Meachum, a headstrong LAPD office recruited for a multi-agency task force assigned to stop a serious threat to Los Angeles.
Have you ever pondered what would happen if a truck carrying a load of episodes of your average network procedural collided with another hauling 1980s and 1990s action thrillers? If so, your answer is appearing on Prime Video as Haas, a writer and producer behind the likes of ‘Wanted’, ‘2 Fast 2 Furious’ and the various Chicago-set TV series that are numerous enough to fill a whole night of NBC’s primetime schedule has essentially built his dream series.
Whether or not it represents your dream or your idea of a nightmare might depend on your tolerance/love for dialogue that is growled rather than spoken, action scenes set to propulsive rock tracks and every trope imaginable spun in admittedly fun fashion.
Haas and his writing team certainly know what type of show they were aiming to make here –– it is unashamedly action packed and about as subtle as being beaten around the head with a DVD copy of a straight-to-home-entertainment thriller.
The Prime Video budget means that the show was able to actual shoot in and around Los Angeles rather than relocating to Atlanta or some other city, and that mean the show has the shiny/grimy backdrop that makes it feel that much more authentic (even if the writing and some of the performances are purely synthetic).
This is clashing egos and team bonding, dialogue snippets that include lines such as “the only way to make this right is to make sure the people responsible are found and put in the ground”, all anchored by a cast who understood the assignment (particularly the leading man –– more on him in a moment).
Directors including Eric Stoltz, Jonathan Brown, Lisa Robinson and Avi Youabian use the California backdrops to bring the series to life in exciting enough fashion, and the show certainly looks decent, even if not quite at the level of, say, a prestige Apple TV+ offering.
Jensen Ackles is practically a genre to himself at this point, having cornered the market in cocky, charismatic lead characters with an easy smile, a quick wit and (in this case) floppy hair.
His Mark Meachum is exactly the sort of role at which he excels –– iconoclastic, driven and hiding a secret pain (in this case, a serious medical condition we won’t spoil). He can handle the action moments with aplomb but really comes alive when he’s just smirking at his co-stars or getting his way.
Eric Dane is playing the boss of the task force, and while he’s dealing with ALS that limits how much he can do, he still brings real presence to the role of Nathan Blythe. He’s completely believable as the man driving the team to figure out the case.
Elsewhere, the cast struggle to make quite the same impact, though the likes of Jessica Camacho (as a dedicated, yet troubled DEA agent) Violett Beane (as FBI tech genius and hacker Evan Shepherd) and Uli Latukefu (as Detective Luke Finau) do manage to pop.
And beyond them, a lot of fairly stock villain and terrorist characters, plus the sort of smug officials who are often threatening to shut the task force down only to be thwarted when our heroes pull out a win (or, in the case of Blythe, use their own powerful connections to shut down opponents).
‘Countdown’ launches with the death of a high-profile TV star playing a Homeland Security agent (we won’t name them and ruin the surprise), but very quickly lays its hand clear –– and if you can’t guess the case the team will end up running down from just the title, then I can’t imagine you’ve watched much television in the past.
But if you’re in the mood for silly action fun and vague nods to more complicated characters here and there, then ‘Countdown’ should fill a spot.
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What’s the plot of ‘Countdown’?
When an officer with the Department of Homeland Security is murdered in broad daylight, LAPD detective Mark Meachum (Jensen Ackles) is recruited to a secret task force, alongside undercover agents from all branches of law enforcement, to investigate.
But the hunt for the killer soon uncovers a plot far more sinister than anyone could have imagined, kicking off a race against time to save a city of millions.
(L to R) Jensen Ackles and Eric Dane star in ‘Countdown’.
Moviefone recently had the pleasure of speaking with Jensen Ackles and Eric Dane about their work on ‘Countdown’, Ackles first reaction to the screenplay and why he was excited to be part of this series, Dane’s character and working with the cast, and Ackles experience collaborating with Derek Haas on set.
You can read the full interview below or click on the video player above to watch our interviews with Ackles, Dane, Jessica Camacho, Elliot Knight, Violett Beane, Uli Latukefu, and series creator Derek Haas.
Moviefone: To begin with, Jensen, when you first read the screenplay, what excited you most about being part of this project?
Jensen Ackles: Unlike some other shows that I’m a part of, I read ‘Countdown’ with a true eagerness to know what was happening and an excitement. A youthful zeal, as my friend Eric Dane would say. It’s a thrill ride. It’s a ride that I would want to be on as an audience. I got the fortunate call to be on it personally, and there’s nothing in there that I was like, “I don’t want to that.” There were very little discussions with Derek about like, “Hey, can we change the this?” If anything, it was on the day. There was no ick factor. There was no like, “I don’t think I would do this.” Everything that he wrote was a template, and it was either done with precision or we played with it until we got what we wanted and what we needed, and it was a delight.
MF: Eric, your character is the boss of this unit, did that extend off set as well?
Eric Dane: So, everybody’s somewhat of a self-contained unit, but we’ve all coalesced nicely. There is no leader. There is just a group of people that have come together to endeavor to make the best show they can, and we had a great time.
MF: Finally, Jensen, what was it like collaborating with series creator Derek Haas on this project?
Jensen Ackles: I hate to call him a boss because I view him as a friend, but he is a wonderful tone setter. He literally just gave a group of crazy actors a playground to absolutely play, and he wrote such great in-depth characters, and a twisty storyline. It lent itself to the camaraderie that we all found ourselves in, and I can’t thank him enough. I can’t speak highly enough of that guy. He’s a wonderful person to work with. I hope I get to work with him for many years.
Editorial Note: James White conducted this interview and contributed to this article.
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What is the plot of ‘Countdown’?
After a Department of Homeland Security officer is killed in plain sight, LAPD detective Mark Meachum (Jensen Ackles) is brought onto a covert task force with undercover agents from various law enforcement agencies to track down the murderer. However, the search reveals a much darker conspiracy than anyone expected, sparking a frantic race to protect a city of millions.
Samara Weaving in ‘Borderline’, a Magnet release. Photo courtesy of Magnet Releasing.
‘Borderline’ receives 7 out of 10 stars.
Opening in theaters and on digital on March 14th, ‘Borderline’ represents the latest movie to blend comedy and violent chaos, all drawn from the keyboard of writer Jimmy Warden, who last brought us the loosely-based-on-truth madness that was ‘Cocaine Bear.’
In this case, he’s behind the camera, making his directorial debut with this story of a 1990s pop star whose home is invaded by her self-proclaimed biggest fan –– a stalker with borderline personality disorder who just wants her to love him. She, meanwhile, just wants to survive their latest encounter.
Ray Nicholson in ‘Borderline’, a Magnet release. Photo courtesy of Magnet Releasing.
While Warden’s comedy chops were on full display in ‘Cocaine Bear,’ that film had Elizabeth Banks calling the shots, where ‘Borderline’ is full spectrum Warden, delivered by the writer himself.
And that unfettered pipeline from page to screen means that his brand of chaos is on full display, for both good and ill. For while it’s certainly packing some laughs (and even manages to find nuance in several characters), it can’t always keep things on track.
Script and Direction
Jimmy Warden, writer and director of ‘Borderline’, a Magnet release. Photo courtesy of Magnet Releasing.
Warden’s style has been honed in the last few years working on the likes of the ‘Babysitter’ movies for Netflix and having spent time in the trenches with such talents as Phil Lord and Christopher Miller (he was a production assistant on ‘21 Jump Street’), ‘No One Will Save You’ filmmaker Brian Duffield, who helped get both ‘Cocaine Bear’ and ‘Borderline’ to screens and Margot Robbie, who clearly saw enough in the script to produce via her LuckyChap company.
Let loose, Warden here has cooked up the 1990s-set tale of Paul Duerson (Ray Nicholson), who has been living under the delusion that he’s in a relationship with pop star Sofia (Samara Weaving). We meet Paul, dressed in what he thinks is his best, when he’s making his latest attempt to get access to Sofia’s mansion.
That ends in a bloodbath when he stabs her loyal bodyguard Bell (Eric Dane), but calls both the police and an ambulance, eventually ending up in a mental health institution (while Bell heads to the hospital).
Fast-forward several months and Bell is recovering while Sofia dates emotional basketball player Rhodes (Jimmy Fails), only for a planned night to be rudely interrupted by a freshly-escaped Paul, who has cooked up his grandest scheme yet. With the help of the hulking J.H. and the equally unhinged Penny (Alba Baptista), Paul plan to kidnap Sofia and marry her.
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Warden has clearly thought through all that can go wrong with this schemes, setting things up well and roping in Bell’s family to add to the complications.
Yet tone is sometimes an issue here, the lunatic stalker comedy occasionally grinding up against an attempt to say more about the pressures of fame and the deeper issues that Sofia herself has (she’s not always the easiest person to deal with either).
And as the movie barrels towards its conclusion (which we won’t spoil), there are moments that aim to blend comedy and violence, but don’t completely work, souring the entertainment value.
Still, Warden shows some promise as a director to go with the skills he has as a writer. There’s nothing too diverting about his framing or filming choices, mostly letting the camera help tell the story. He also has a keen ear for some fun and appropriate ‘90s needle drops.
Cast and Performances
Ray Nicholson in ‘Borderline’, a Magnet release. Photo courtesy of Magnet Releasing.
A big part of why ‘Borderline’ works at all is the committed performances from its leads.
Nicholson, who was last seen sporting a terrifying grin as the heroine’s late boyfriend in ‘Smile 2,’ is here throwing himself into the role of slightly greasy, very desperate but ultimately relatable weirdo Paul.
With his stringy moustache and his cringe-worthy fashion choices, he makes for an off-kilter yet compelling stalker figure, a man with clear issues and one whose life is mostly lived in his head.
Samara Weaving in ‘Borderline’, a Magnet release. Photo courtesy of Magnet Releasing.
As Sofia, Weaving brings the right level of spoiled starlet and kooky humanity to the role, and is also –– thanks to her experiences in the likes of ‘Ready or Not’ and ‘Scream VI’ attempt at going the scream queen route when needed, and fighting back at other times.
Eric Dane is handed a solid role as loyal bodyguard Bell; a man weary of having to deal with the likes of Paul but committed to keeping his charge safe with sensitive tough guy grace. This also sees Dane willing to throw himself into the comedy side of things, even while he’s mostly the straight man as the madness unfolds around him.
Elsewhere, Patrick Cox has fun as the giant J.H., someone for whom violence comes easy, but never without regret, and Baptista keeps Penny at just the right level of weird. Fails, meanwhile, steals some scenes as the easily offended sportsman Rhodes.
Final Thoughts
A scene from ‘Borderline’, a Magnet release. Photo courtesy of Magnet Releasing.
‘Borderline’ will appeal to those who appreciated the comic stylings of ‘Cocaine Bear’ and shows some progress for Warden. If it can’t quite stick the landing, it at least has some fun along the way.
What is the plot of ‘Borderline’?
Set in Los Angeles in the 1990s, a pop star’s (Samara Weaving) home is broken in by an obsessive fan (Ray Nicholson) who delusively believes they are getting married and manipulates their surroundings to create a wedding atmosphere.
Who is in the cast of ‘Borderline’?
Samara Weaving as Sofia
Ray Nicholson as Duerson
Eric Dane as Bell
Alba Baptista as Penny
Jimmie Fails as Rhodes
Theatrical one-sheet for ‘Borderline’, a Magnolia Pictures release. Photo courtesy of Magnet Releasing.
‘Bad Boys: Ride or Die’ star Joe Pantoliano on June 05, 2024 in Miami, Florida. Photo by Alexander Tamargo/Getty Images for Sony Pictures Entertainment.
Moviefone recently had the pleasure of speaking with veteran actor Joe Pantoliano about his work on ‘Bad Boys: Ride or Die’, returning after his character’s death in ‘Bad Boys for Life’, Captain Howard’s love for Mike and Marcus, working with Smith and Lawrence again, shooting his scenes, and his respect for directors Adil El Arbi and Bilall Fallah.
You can read the full interview below or click on the video player above to watch our interviews with Pantoliano and Melanie Liburd.
‘Bad Boys: Ride or Die’ star Joe Pantoliano on June 05, 2024 in Miami, Florida. Photo by Alexander Tamargo/Getty Images for Sony Pictures Entertainment.
Moviefone: To begin with, your character was killed off in ‘Bad Boys for Life’, how surprised were you to discover you would be retuning for ‘Bad Boys: Ride or Die’?
Joe Pantoliano: I wasn’t going to give them any opportunity to change their mind. “Yes, sir. May I have another?”
MF: What was it like for you to return and have a chance to play Captain Howard one more time?
JP: Oh, it was great. It was brief. I was working on something else, and I needed to get back, I was doing a play. So, they accommodated my schedule. It was a whirlwind, but it turned out to be so very good.
MF: Can you talk about Captain Howard’s love and respect for Mike and Marcus, and the trust that he’s given to them over the years?
JP: It’s a natural trajectory that played into the chemistry. In a lot of ways, it reflected our own personal journey as actors, as people, and as humans. I got to know those guys when they were kids, and then started families, and grown up in a way that I’m very proud of them as professionals and as humans.
MF: What was it like getting to work with Will Smith and Martin Lawrence again?
JP: It’s just very easy.
MF: Can you talk about shooting the “After Life” scene with Martin Lawrence?
JP: It was fascinating, because it was blue screen, and the equipment that they use. When Marcus goes back into the bed and the clothes get torn off. The equipment boggles my mind, it boggles my imagination. The forty-some years that I’ve been doing this, the idea that focus pullers can now be 200 yards away from the camera, it just boggles my mind. So, I was just like a kid in a candy store, seeing how they do all this stuff and having no idea how it gets pulled off.
MF: Finally, you began making these films with director Michael Bay but what has it been like working with Adil El Arbi and Bilall Fallah on these last two ‘Bad Boys’ movies?
JP: They have a childlike quality about them, and enthusiastically, and Michael Bay is one of their hugest fans. They’re huge fans of Michael Bay. So, to pay homage to what Michael created, and they adore him, and they think about that, and their collaboration with Robrecht Heyvaert, the cinematographer who’s extraordinarily creative in his own right. So, it’s a combination of the three of them. Fascinating. It’s like being a student of filmmaking, you just watch this stuff, and you go, “Wow, how did they do it?”
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What is the plot of ‘Bad Boys: Ride or Die’?
When the late Captain Howard (Joe Pantoliano) is implicated in a longstanding string of drug-related crimes, the Bad Boys — Mike Lowrey (Will Smith) and Marcus Burnett (Martin Lawrence) — attempt to clear his name, only to find themselves framed as well. With a bounty on their heads, they’re forced to go on the run from the drug cartel, the local gangs, and their fellow officers in the Miami PD.
Moviefone recently had the pleasure of speaking with Eric Dane about his work on ‘One Fast Movie,’ his first reaction to the screenplay, his love for motorcycles and shooting those sequences, working with KJ Apa and Edward James Olmos, their characters relationships, and collaborating with writer and director Kelly Blatz.
You can read the full interview below or click on the video player above to watch our interviews with Dane, KJ Apa, Edward James Olmos and director Kelly Blatz.
Eric Dane stars in ‘One Fast Move’.
Moviefone: To begin with, can you talk about your first reaction to the screenplay and why you wanted to play this character?
Eric Dane: I thought the story tracked well. I loved the world that the story took place in, and the writing was good. Now, playing a father in a father and son story with these dynamics is I think interesting for any actor. I think anybody would’ve jumped at this. There’s a lot of meat on the bone.
MF: Are you a motorcycle guy? What was it like shooting the motorcycle sequences and what kind of training did you do?
ED: I didn’t need to do any. I am a motorcycle guy. That said, what they asked us to do wasn’t that demanding. The insurance company’s not letting us race around a track, nor could I do that. We had highly skilled professionals for that, who did a fantastic job. But yeah, I did all the riding I needed to do.
MF: Can you talk about Wes and Dean’s father and son relationship and what they are both hoping to get out of their unlikely partnership?
ED: Wes and Dean, I think what they’re trying to get out of it is I believe Dean would probably like to have some of that, not that guilt because I don’t think he even acknowledges it, but I think he would like to have that wound healed a little bit. Maybe alleviate some of that guilt for walking out on his mother and him. I think what Wes wants is a mentor. It doesn’t have to be his father, but he wants a mentor, he wants a father figure in his life. Biological or not, he wants a father figure in his life to offer him some guidance.
MF: What was it like working on that relationship with KJ Apa?
ED: I love KJ. KJ was super fun to work with. We became fast friends. We still are very close. I think it helped with some of the work, that we did have such a profoundly close relationship quickly, and we did a lot of work off camera to make sure that the dynamics were as accurate as we could possibly make them.
Edward James Olmos in ‘One Fast Move’.
MF: Speaking of father and son relationships, Dean also has that dynamic with Abel. Can you talk about that and working with the great Edward James Olmos?
ED: Well, essentially you have three generations of misfits. You have Wes, you have Dean, and you have Abel, who is a father figure to me, just like I end up being a father figure to my actual biological son, Wes. But working with Edward James Olmos is like, he’s a master craftsman who has turned in some of the great performances in our lifetimes. So, it’s always fun to work with people who are that good. You always want to feel like you’re punching above your weight, right? But it’s also like there’s moments when you’re like, “Wow, that’s Edward James Olmos.” You’re acting with the guy, and at the same time you’re like, “I know that dude. I’ve seen that dude.” You know what I’m saying?
MF: Finally, what was it like collaborating with Kelly Blatz on set as a director?
ED: He was brilliant. He knew exactly what he wanted, and he also knew when to stay away from the actors and when to intervene. He has unbelievable instincts, and I can’t wait to work with him again.
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What is the plot of ‘One Fast Move’?
‘One Fast Move’ is an action-adventure thrill ride about a young man (KJ Apa) down on his luck who seeks out his estranged father (Eric Dane) to help him pursue his dream of becoming a professional motorcycle racer. With the help of his small-town love interest (Maia Reficco) and a motorcycle shop owner (Edward James Olmos) who moonlights as his mentor, he begins to break down the walls that his father’s absence had built up.
(L to R) Sydney Sweeney, Alexa Demie, Barbie Ferreira, Maude Apatow, Zendaya in ‘Euphoria’ season 2. Photo: Eddy Chen/HBO.
Preview:
After long delays, ‘Euphoria’ Season 3 will shoot in January.
Creator Sam Levinson has written the season.
Actors such as Zendaya, Sydney Sweeney and Jacob Elordi will return.
‘Euphoria’ fans have had to be remarkably patient, as the show has seen some severe delays in getting back to shooting.
Now, though, there is light at the end of the tunnel for those who have been watching the (mis)adventures of Rue (Zendaya) and the rest, as HBO has announced that creator Sam Levinson will kick off production on Season 3 in January next year.
Here’s the statement from Francesca Orsi, executive vice president of HBO programming and head of HBO drama series and films:
“I am thrilled that we are ready to begin production on ‘Euphoria’ in January. We could not be happier with our creative partnership with Sam and this incredible cast. We look forward to bringing this new season of ‘Euphoria’ to life for the fans.”
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What’s the story of ‘Euphoria’?
Zendaya in ‘Euphoria.’ Photograph by Eddy Chen/HBO.
For those who have somehow missed the cable channel sensation, ‘Euphoria’ follows a group of high school students as they navigate love and friendships in a world of drugs, sex, trauma and social media.
The series is an adaptation of an Israeli show of the same name, and all episodes are written by Levinson, who also directs a lot of the show.
Sydney Sweeney in ‘Euphoria.’ Photograph by Eddy Chen/HBO.
In March, a report from The Wrap brought word the delay is happening because ‘Euphoria’ creator/show-runner Sam Levinson has decided –– probably smartly, given the age of his cast –– that the new season should take the characters beyond high school.
While the second season didn’t end with graduation (instead a school play went badly wrong and a shootout left at least one character dead), the new season will follow the leads’ lives post-school.
And that change means new script work and extra time for development. Hence the delay.
Despite its star-making success, the show has not been without issues, including dealing with the pandemic while shooting its first season and strikes following its second. Indeed, Levinson had been writing the third season when the writers’ strike began last year. The actors’ strike also compounded the issue.
Barbie Ferreira, who plays the character of Kat, has announced she won’t return for the new season, and Angus Cloud, whose character Fezco was arrested at the end of Season 2, tragically died last year.
Levinson also co-wrote and produced ‘The Idol’ for HBO, which arrived last year to scathing reviews and has been cancelled after one season.
Who will return for ‘Euphoria’ Season 3?
Jacob Elordi on HBO’s ‘Euphoria.’ Photograph by Eddy Chen/HBO.
No one was more surprised than us when we walked out of 2020’s ‘Bad Boys for Life’ having enjoyed the film. Especially coming some 17 years after the unpleasant ‘Bad Boys II,’ and with Michael Bay abdicating the director’s chair to Adil El Arbi and Bilall Fallah (credited as Adil & Bilall), the third entry in the franchise was as mayhemic (if not Bayhemic) as ever, but actually offered up some character development, a decently structured plot, and yes, plenty of eye-watering yet well-staged action and violence, not to mention the undeniable Will Smith-Martin Lawrence chemistry.
Flash forward five years and it seems the ‘Bad Boys’ franchise has actually flashed back a bit: ‘Bad Boys: Ride or Die’ is more frenzied, sillier, and more mind-numbing than its predecessor. The returning Adil & Bilall (along with encoring screenwriter Chris Bremmer, this time working with Will Beall, whose less-than-sparkling credits include ‘Gangster Squad’ and ‘Aquaman’) seem to be leaning into the style of the first two ‘Bad Boys’ entries, and while Smith and Lawrence still have their act down, it’s starting to feel a little like a parody of itself. ‘Bad Boys: Ride or Die’ still manages to be fairly entertaining, but it feels like eating too much of a meal you weren’t even sure you wanted.
You want story? ‘Bad Boys: Ride or Die’ gives you plenty – or least piles on incidents and plot points like a wobbly Jenga game. Just in the first 15 minutes alone, perennial bachelor and lead Bad Boy Mike Lowrey (Will Smith) gets hitched – a lot happened in the last four years, we guess – while his partner in detective work and destruction, Marcus Burnett (Martin Lawrence) has a heart attack while dancing at Mike’s wedding. A near-death vision of the late Captain Howard (Joe Pantoliano, picking up a paycheck) convinces Marcus to channel his inner Jeff Bridges circa ‘Fearless’ and walk on the ledge of the hospital roof after he recovers, while we also discover that Mike is now suffering from panic attacks – you know, the kind that always pop up at critical life-or-death moments in a movie like this.
It turns out that Marcus’ vision isn’t the last we’ll see of Joey Pants; after it comes out that Captain Howard is, for some reason, being investigated after his death for colluding with the drug cartels, Mike and Marcus are sent a recording that Howard made before his death in which he says he’s the one who’s been investigating the corruption and it goes all the way up the food chain of Miami P.D. and perhaps higher. That, it turns out, is the real reason why he was shot to death by Mike’s illegitimate son Armando (Jacob Scipio) in ‘Bad Boys for Life,’ in a neat bit of comic-book-style retconning.
Before you can say ‘plot contrivance,’ Mike and Marcus find themselves targeted for investigation, while the real villains – a shadowy militia unit led by former DEA officer and cartel prisoner James McGrath (Eric Dane) – are setting them up as well, placing a bounty on their heads with every gang in Miami. Soon the Bad Boys are on the run, joined along the way by Armando, who has been sprung from federal prison to help his father catch the true conspirators.
All of this, as well as the increasingly chaotic action, Smith and Lawrence’s banter breaks, and the introduction or re-introduction of a lot of characters we don’t really need, is presented almost as an ongoing recap of the movie you’re watching as you watch it.
Adil & Bilall move everything along at breakneck speed, with one scene practically butting into another before the previous one is finished, and while there’s a certain energy to it all, it also feels numbing after a while. Mike and Marcus seem to get out of almost every situation they’re in, making the stakes feel less substantial than they are, and for the grand climax at an abandoned amusement park (complete with 16-foot alligator still lurking on the grounds), the pair all but assemble their own version of the Avengers for the big shootout, even including high-tech battle drones.
Yes, the movie is insane, more so than ‘Bad Boys for Life,’ but we can’t say we weren’t intermittently entertained along the way. When we can actually see the action (it feels far more muddled this time than in ‘For Life’), some of it’s quite exciting: perhaps the best moment is when Marcus’ Marine son-in-law Reggie (Dennis McDonald) takes on 15 assassins by himself in a clear audition for ‘Bad Boys: The Next Generation’ (Jacob Scipio’s Armando seems to be auditioning for that project as well). And while a lot of the jokes fall kind of flat, there are a few laugh-out-loud moments here as well.
This is only Will Smith’s second film (following the ill-fated ‘Emancipation’) to arrive after the infamous Oscar slap that was heard around the world. While it kind of works for Lowrey, who has at least shown some character growth in the series, Smith seems to have lost some of his usual infectious energy here and comes across a bit muted. He’s still a compelling presence, and while he still has that chemistry with Lawrence, he (or his character) seems more impatient with the latter this time out.
As well he should: Lawrence is embarrassing. His Marcus is more or less played as a complete fool now, whether he’s standing bare-assed on a roof or immersed in hip-deep water while facing an alligator. Lawrence still manages to get off a few good lines (“He’s racist!” he exclaims after his confrontation with the gator doesn’t end well) and when he focuses, he can play off Smith well, but focus is his problem: Marcus is less a character and more a collection of pratfalls and extended bits that go nowhere.
The problem with the rest of the cast – aside from the fact that there are too many of them — is that they either don’t get time to do much or have their true nature telegraphed far too early in the film. Vanessa Hudgens’ Kelly, Alexander Ludwig’s Dorn, and Paola Nuñez’s Rita Secada (who’s now the Bad Boys’ captain) are simply the support system for the stars, while other returning cast members (and one returning filmmaker) just show up for glorified cameos. Only Armando, Lowrey’s son, has something resembling a character arc this time out, and the dynamic between father and son provide the film’s fleeting moments of genuine emotion and introspection.
But c’mon, you don’t come to a ‘Bad Boys’ movie for introspection, right? As we said earlier, this is a movie that is overstuffed – with plot, with characters, with action, with crazy camera moves. It starts at around 60mph and quickly escalates from there, but there’s simply never enough time for the viewer to truly feel anything (and since most of it was filmed in Georgia, the Miami flavor and bouncing soundtrack set the scene but never quite suffuse the movie).
Nevertheless, there’s just enough action and, in the third act, suspense to keep us going for two hours. Smith is certainly still watchable, even if Lawrence has become a chore. When Adil & Bilall get the mix of violence, character, and comedy right – as they did in ‘For Life’ – this can be an entertaining buddy-cop crowd-pleaser. At the very least, the ‘Bad Boys’ franchise seems to be the last one standing in a once-popular genre that has since fallen on hard times. But this cinematic fast-food meal might leave you feeling full and empty at the same time.
‘Bad Boys: Ride or Die’ receives 6 out of 10 stars.
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What is the plot of ‘Bad Boys: Ride or Die’?
When the late Captain Howard (Joe Pantoliano) is implicated in a longstanding string of drug-related crimes, the Bad Boys — Mike Lowrey (Will Smith) and Marcus Burnett (Martin Lawrence) — attempt to clear his name, only to find themselves framed as well. With a bounty on their heads, they’re forced to go on the run from the drug cartel, the local gangs, and their fellow officers in the Miami PD.
Opening in theaters, On Demand, and digital beginning May 6th is the new mystery thriller ‘The Ravine,’ which is based on the book by Kelly and Robert Pascuzzi and was written and directed by Keoni Waxman (‘The Hard Way’).
Inspired by true events, the movie takes place in a small town after an unspeakable crime, where Carolyn (Teri Polo) and Mitch Bianci (Eric Dane) are left to wonder if they overlooked their friend Danny’s (Peter Facinelli) violent tendencies, or if there might be more to the story.
Peter Facinelli has been working professionally as an actor for over twenty-five years. He has appeared in several popular television programs including ‘Fastlane,’ ‘Six Feet Under,’ ‘Nurse Jackie,’ ‘Glee,’ and ‘Supergirl.’
Moviefone recently had the pleasure of speaking with Peter Facinelli about his work on ‘The Ravine.’
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You can read our full interview with Peter Facinelli below or watch our interview by clicking the video player above.
Moviefone: To begin with, how did you get involved with this project and what was your first reaction when you read the screenplay?
Pater Facinelli: I don’t remember how I got involved. I think they came to me and asked me to read the script and I read it, and it was based on true events. Then Eric Dane was already attached to it and I like Eric Dane’s work. I like the director (Keoni Waxman) as well. So, I signed up to do it.
I knew it was going to be kind of a heavy subject matter. It’s not one of those projects where I know that I’m going to go have fun at work. It was one of those things that I knew was going to be emotionally draining at times. But, the subject matter to me was important because it deals with a lot of themes. It deals with forgiveness, which I really like that theme with Eric Dane’s character, but from my character also. This was before people really put a spotlight on mental health.
At the time people really weren’t talking about mental health, but I always thought it was important. I felt like my character in this movie was not a bad person or an evil person. He did these acts and was troubled, but he had mental health issues. There’s one scene in the movie where he is actually talking to Eric Dane’s character and he is being a little cryptic.
I always thought, well, what if that conversation went to another level? What if there was a little bit more probing in there? Maybe he was trying to reach out for help but didn’t know how to reach out for help. It just makes you think, check in with friends. Make sure they’re okay. Because those things that happened that night, they could have been prevented. There’s an alternate universe where that mental health issue was corrected, and he got the help he needed, and he didn’t snap.
Peter Facinelli in ‘The Ravine.’
MF: You play a pivotal role in the film but have limited screen-time. As an actor, what are the challenges of playing such a small but important role, and being able to convey your character to the audience in a short amount of time?
PF: For me, you’re kind of constrained by the writing as well. But there were scenes there to show his personality. So, when he is dancing with his wife, when he first meets her, in the scene where I’m talking to Eric Dane, I wanted to give the sense that he was this guy that you’d want to hang out with, go play basketball with or go to a party with. He was the best friend that makes you laugh. He wasn’t this guy who had this dark cloud over him, the villain that sits in his house plotting something. This event came out of nowhere.
I think that what’s interesting about it is Eric Dane’s character has to put those pieces together. Is this the person that I thought he was? Did I read him wrong? Was our friendship a lie? Eric Dane’s character was left with all these questions, and what he was left with was that he had issues and he didn’t deal with them in the way that he should have. It doesn’t reflect on all the good times that he had with him. It reflects on one bad night and then he finds forgiveness.
Eric Dane in ‘The Ravine.’
MF: You have an extremely emotional scene that opens the movie, can you talk about how you prepared for filming that sequence?
PF: I don’t know. I mean, it’s hard to say, because you just kind of got to do it. It’s like when you’re playing a game of basketball and you’re down by two points, there’s a basket and you just try to shoot. I think it’s more for me about knowing what’s on the page, and there’s a lot of pressure because it’s a very emotional scene and it’s very easy to force it. For me it’s always about just staying connected in the moment. If I’m staying in the moment and connected, then it’ll be truthful and whatever comes out of that will happen. Sometimes it takes you for a ride and it’s almost meditational in a way. It’s more about letting go and trusting what could come out of it.
I think we did a few takes. But I think some were more emotional, and some were less emotional. Again, the worst thing is whenever you’re doing a scene where you’re crying, it’s interesting because in real life nobody tries to cry, right? You’re always trying not to cry. So, when you see an actor who’s trying to cry, it becomes forced and it feels weird or ugly. But it’s when you just let go, then it just kind of takes over that moment and it’s whatever that moment is. Some takes I might not have cried. Some takes I did cry. Then it was whatever the director ended up wanting to use. But my job is just to stay in the moment and give them as many truthful moments as I can.
Then I can walk away feeling good about it. But it’s funny because most of the time we’re trying not to cry in real life? You start to cry and you’re fighting it. But for him there was a real release there, because when you’re staring at the ravine of your life and you’re about to plummet into the unknown, and you’ve done these horrible acts that are behind you, there’s nowhere else for you to go but forward. So, it was almost symbolic of leaving his life behind and just driving as fast as he could into the unknown, letting it all go and knowing that he can no longer stay on this planet with all the things that he had done.
Teri Polo in ‘The Ravine.’
MF: Finally, can you talk about how Danny’s actions has caused a disagreement in Mitch and Carolyn’s marriage, as well as what it was like working with Eric Dane and Terri Polo?
PF: Well, I mean, I love Eric Dane. He’s a real solid guy. He is the guy you want to go play basketball with. As a matter of fact, we were doing the basketball scene and I showed up a little early. I was rehearsing it because I haven’t played basketball in a while. So, by the time we went to shoot I was all sweaty. Eric Dane was sitting in the corner hanging out and I was like, all right, you guys ready? He gets up and he just starts hitting dunks with every basket. I’m sitting there all sweaty thinking, I got to take a page out of this guy’s book. He just showed up and started hitting the baskets. I put too much work in and we were laughing about it. But he’s just a solid, good dude.
Then, Teri’s just so sweet and a really good actress too. I think I only had one scene with her, but she’s really lovely in the movie. She gives the other perspective. Because when you’re going through something, trying to find answers, she’s a good wife and a good friend to Mitch. You could see why Danny and Carolyn were good friends in high school. She was best friends with Danny’s wife in high school. But you could see why she was a good friend to Mitch in that moment, because she was giving him the other perspective of no, you didn’t make mistakes. You didn’t do anything wrong. He had issues. One act doesn’t define who he was as a person. Then you could find forgiveness in that because it was hard.
It’s based on true events. The producer and his wife were the Eric Dane and Teri Polo characters in real life. So, there’s a real responsibility when you show up to work because these people lived through that. Out of respect for them you want to give everything you can. You want to make sure that their story’s being told truthfully. But there was a weird thing where I felt very tapped into that character. I almost felt like he was connected with me and I could feel him. I could feel him as I was working.
(L to R) Teri Polo and Eric Dane in ‘The Ravine.’
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