The Bad Guys 2 (2025) Movie Review: A Visually Dazzling Heist Sequel That Delivers More Fun Than Focus

Directed by Pierre Perifel with co-direction from JP Sans, and written by Yoni Brenner and Etan Cohen, "The Bad Guys 2" is a 2025 animated action-comedy that proves sequels can indeed surpass their predecessors in spectacle, even if they occasionally sacrifice intimacy for scope. Produced by DreamWorks Animation and distributed by Universal Pictures, this 104-minute follow-up to the 2022 surprise hit reunites the voice talents of Sam Rockwell as Mr. Wolf, Marc Maron as Mr. Snake, Awkwafina as Ms. Tarantula, Craig Robinson as Mr. Shark, and Anthony Ramos as Mr. Piranha. New additions include Danielle Brooks as Kitty Kat, Natasha Lyonne as Doom, and Maria Bakalova as Pigtail Petrova, with Zazie Beetz returning as Governor Diane Foxington.

Released on July 24, 2025 in Argentina and August 1, 2025 in the United States, the film finds our reformed criminal crew struggling to integrate into straight society after their prison stint. When a rival group called the Bad Girls emerges and frames them for new crimes, the team must pull off one more elaborate heist to clear their names. Based on Aaron Blabey's Australian graphic novel series, this sequel matters because it represents DreamWorks Animation's continued commitment to visual innovation and demonstrates that family entertainment can balance sophisticated animation techniques with accessible storytelling, even when that balance proves imperfect.

Story and Screenplay: Ambitious Scale Meets Familiar Beats

The narrative wastes no time establishing that redemption comes with unexpected complications. Our protagonists have completed their sentences and genuinely want to live lawfully, but society isn't ready to trust them. This creates immediate tension rooted in real-world issues about recidivism and reintegration, lending unexpected depth to what could have been a straightforward caper plot. A particularly effective early sequence shows Mr. Wolf attempting to secure employment at a bank he's robbed multiple times, mining both humor and pathos from the situation.

The screenplay introduces the concept of MacGuffinite, a rare metal being stolen across various locations, with self-aware humor about its status as a plot device. This meta-awareness extends throughout the script, which playfully acknowledges heist movie conventions while enthusiastically embracing them. The story structure follows a globe-trotting trajectory from Cairo to Mexican wrestling arenas to outer space, constantly escalating in scope and ambition.

However, this expansion comes at a cost. While the original film found time for character-focused moments, including a memorable opening dialogue scene between Wolf and Snake that felt almost novelistic in its pacing, this sequel prioritizes constant motion over contemplation. The romance between Wolf and Diane, Snake's relationship with the mysterious Doom, and the internal dynamics of the Bad Girls all vie for attention in an overstuffed narrative that never quite gives any single thread room to breathe.

The screenplay does inject surprisingly mature themes about societal judgment and second chances, questioning whether rehabilitation is possible when the system offers no safety net. Yet it ultimately resolves these complexities with a somewhat simplistic message about working harder to earn respect, which feels like a missed opportunity given the more nuanced questions it raises. The plot itself follows predictable beats familiar to anyone who's watched heist films, though the execution maintains enough energy to compensate for the lack of genuine surprises.

Acting and Characters: Stellar Voices in an Overcrowded Ensemble

Sam Rockwell remains the beating heart of these films, infusing Mr. Wolf with his signature combination of charm, vulnerability, and quicksilver wit. His vocal performance channels the smooth confidence of George Clooney's Danny Ocean while maintaining a distinct personality that feels perfectly suited to the character's canine nature. Rockwell's ability to convey emotional depth through voice work alone elevates every scene he's in, particularly quieter moments where Wolf grapples with his desire for both legitimacy and excitement.

Marc Maron brings wonderful texture to Mr. Snake, now reinvented as a health-conscious yoga enthusiast who exits conversations with an elongated California "Bye-eeeee" that becomes one of the film's most reliable running gags. His chemistry with Natasha Lyonne's Doom creates genuine romantic spark, especially during their hilariously anatomically-specific kiss scene that demonstrates the animators' willingness to embrace the absurdity of their premise.

The new additions to the cast work admirably within their constraints. Danielle Brooks voices Kitty Kat with appropriate authority, though the character's dialogue lacks the sharpness that would make her a truly memorable antagonist. Maria Bakalova brings deadpan humor to Pigtail Petrova's literal-minded Russian perspective, while Lyonne's characteristic raspy delivery suits the dagger-wielding Doom perfectly. However, none of these newcomers receive sufficient development to become more than functional plot devices.

The returning ensemble members face similar challenges. Awkwafina's Ms. Tarantula gets moments of tech-savvy humor but little personal development. Craig Robinson's Mr. Shark remains primarily a visual gag generator, cycling through increasingly ridiculous disguises without much emotional arc. Anthony Ramos voices Mr. Piranha with appropriate manic energy, though the character's nervous flatulence becomes a one-note joke that the film returns to with diminishing returns.

Zazie Beetz brings warmth and intelligence to Diane Foxington, and her scenes with Rockwell generate genuine romantic chemistry despite the limited time devoted to their relationship. Richard Ayoade returns as Professor Marmalade in a scene-stealing cameo that reimagines the villainous guinea pig as a bulked-up Hannibal Lecter type, demonstrating the film's playful approach to pop culture references.

Direction and Technical Aspects: A Visual Triumph of Style and Motion

Pierre Perifel and JP Sans have crafted one of DreamWorks Animation's most visually distinctive films, rivaling "Puss in Boots: The Last Wish" and "The Wild Robot" in terms of artistic achievement. The animation style deliberately evokes hand-drawn aesthetics while utilizing cutting-edge 3D techniques, creating a hybrid approach where characters appear to leap from the pages of a comic book in motion. This combination of 2D effects layered over 3D models gives extraordinary depth to character expressions and textures, making fur appear tactile and scales shimmer with dimensional detail.

The opening Cairo sequence sets an extraordinary standard, functioning as both backstory and mission statement. The car chase through Egyptian streets features physics-defying stunts, glitter bombs exploding in kaleidoscopic patterns, and editing so sharp it lands like visual punchlines. The directors clearly studied classic Looney Tunes animation, embracing limb-stretching physics and Picasso-esque perspectives that warp space for comedic and dramatic effect.

Subsequent set pieces maintain this kinetic energy with remarkable consistency. A wrestling match at a Lucha Libre arena becomes a riot of color and movement, with waves of spectators animated with fluid grace and cultural specificity that walks the line between celebration and caricature. The climactic space station sequence delivers genuinely jaw-dropping moments as gold objects swirl through zero gravity in hypnotic patterns, pulled by an enormous magnet in compositions that marry scientific spectacle with cartoon logic.

The film's visual language draws heavily from anime influences, particularly in how it handles speed lines, impact frames, and dynamic camera movements. When characters peel away in their getaway car, exhaust clouds burst as sketchy, hand-drawn scribbles that feel refreshingly tactile in an era of overly polished animation. The occasional fully 2D impact frame punctuates action beats with comic book flair.

The editing, particularly in action sequences, demonstrates impressive control over chaos. Multiple elements move simultaneously across the frame while maintaining visual clarity about geography and stakes. A tracking shot during the finale follows one character running frantically in the foreground while a massive shootout unfolds behind them, creating layers of action that reward close attention without overwhelming comprehension.

Music and Atmosphere: High-Energy Soundtrack Supporting Slick Visuals

Daniel Pemberton's score perfectly captures the film's sleek, modern heist movie atmosphere, echoing his work on "Ocean's 8" while establishing its own animated identity. The music propels action sequences with propulsive energy while knowing when to step back during character moments, though these quieter scenes appear less frequently than they should. Pemberton's compositions blend orchestral grandeur with electronic elements that feel contemporary without dating the film.

The soundtrack incorporates original tracks from Busta Rhymes and Rag'n'Bone Man, lending street credibility to the proceedings while maintaining accessibility for younger audiences. These musical choices reinforce the film's determination to feel cool and current, positioning itself as animation that kids will want to watch to feel sophisticated rather than content that talks down to them.

Sound design creates satisfying texture throughout, from the crunch of impact to the whoosh of vehicles accelerating to impossible speeds. The acoustic environments shift convincingly between cramped interiors and vast desert expanses to the eerie silence of space punctuated by mechanical sounds and character dialogue. However, the audio mix occasionally leans too heavily on constant stimulation, rarely allowing moments of genuine quiet that might create contrast and emphasis.

The overall atmosphere successfully channels classic caper films while maintaining a family-friendly energy. There's a swagger to the proceedings that younger viewers will find aspirational and older audiences will recognize as affectionate homage. The tone balances genuine stakes with cartoonish consequences, allowing characters to experience real setbacks without traumatic weight.

Trailer The Bad Guys 2 (2025)

Strengths and Weaknesses

What Works Well:

• The animation represents some of DreamWorks' most visually accomplished work, blending 2D and 3D techniques with remarkable skill
• Sam Rockwell's voice performance anchors the film with charm and emotional authenticity
• Action sequences are choreographed with impressive clarity and creative flair, rivaling live-action heist movies
• The opening Cairo sequence immediately establishes the film's stylish credentials
• Marc Maron and Natasha Lyonne's romantic subplot generates genuine laughs and chemistry
• The film addresses mature themes about reintegration after incarceration with surprising thoughtfulness
• Daniel Pemberton's score enhances the slick, contemporary feel
• The space station climax delivers spectacular visuals and genuine excitement

What Doesn't Work:

• Too many characters and subplots create a cluttered narrative that can't give proper attention to any single element
• The Bad Girls, while well-voiced, lack the personality development that would make them memorable antagonists
• Reduction in quiet character moments compared to the first film sacrifices emotional depth for constant action
• Mr. Piranha's flatulence gag becomes tiresome through repetition
• The resolution to the film's themes about societal acceptance feels overly simplistic
• Secondary characters like Tarantula, Shark, and Piranha get lost in the ensemble shuffle
• The predictable plot structure offers few genuine surprises despite energetic execution
• The return of Professor Marmalade, while amusing, feels unnecessary in an already crowded story

Final Verdict: A Worthy Sequel That Prioritizes Spectacle Over Substance

Rating: 3.5/5 stars

"The Bad Guys 2" earns its 3.5-star rating by delivering exactly what it promises: bigger, bolder, more visually ambitious storytelling that builds on its predecessor's stylistic foundation while struggling to replicate its emotional intimacy. This is a film that understands animation as an art form capable of distinctive visual expression, and it succeeds brilliantly on those terms. The action sequences alone justify the price of admission, representing some of the most creatively choreographed animated set pieces in recent memory.

This sequel is ideal viewing for families seeking summer entertainment that respects children's intelligence while providing enough visual sophistication to engage adults. Kids will absolutely love the anarchic energy, the cool factor of these criminal characters, and yes, the bodily function humor that adults may find excessive. Parents who appreciate animation as craft rather than mere babysitting will find much to admire in the technical achievement on display. Fans of heist films from "Ocean's Eleven" to "Mission: Impossible" will recognize and enjoy the genre conventions being playfully deployed.

The film also rewards viewers who value animation that pushes aesthetic boundaries. Those who celebrated the visual innovation of "Spider-Man: Into the Spider-Verse," "Puss in Boots: The Last Wish," or "The Mitchells vs. The Machines" should absolutely see what Perifel and his team have accomplished here. It represents DreamWorks Animation's ongoing evolution toward more artistically ambitious projects that stand apart from the house style that sometimes makes their output feel homogeneous.

However, viewers seeking the character-focused intimacy of the first film may feel somewhat disappointed by the sequel's relentless pacing and overstuffed ensemble. Those who prefer animation with more contemplative moments or deeper emotional exploration will find this sequel prioritizes constant momentum over meaningful character development. Adults watching without children may find the juvenile humor occasionally grating, particularly the repeated flatulence gags that feel obligatory rather than earned.

Ultimately, "The Bad Guys 2" succeeds as slick, stylish entertainment that demonstrates DreamWorks Animation's technical prowess while revealing the challenges of expanding a tight ensemble into a broader franchise. It's a film that knows what it wants to be and executes that vision with confidence and flair, even when that vision occasionally spreads itself too thin. For audiences willing to embrace its emphasis on spectacle over substance, this sequel delivers a genuinely fun time at the movies that looks better than most animated films dare to attempt. Just don't expect the character moments that made the original feel special to receive equal attention amid all the globe-trotting chaos.