The Bad Guys 2 – Film Review

DreamWorks Animation returns to the world of slick, stylish crime capers with The Bad Guys 2, a sequel that doubles down on action, humor, and colorful characters. Directed by Pierre Perifel with co-direction from JP Sans, and penned by Yoni Brenner and Etan Cohen, the follow-up to the 2022 surprise hit finds the titular gang back in the game for a globe-trotting “one last job” adventure. With returning voice talents Sam Rockwell, Marc Maron, Craig Robinson, Anthony Ramos, Awkwafina, Zazie Beetz, Richard Ayoade, Lilly Singh, and Alex Borstein—plus newcomers Danielle Brooks, Maria Bakalova, and Natasha Lyonne—this second outing aims to blend comedic banter with high-octane set pieces.

While it largely succeeds in delivering a fun, energetic ride, The Bad Guys 2 occasionally stumbles in pacing and overstuffed plotting, leaving it a solid but slightly less focused follow-up.

From the opening moments, The Bad Guys 2 wastes no time in reintroducing audiences to its charismatic ensemble. The animation style, once again leaning into a hybrid look of 2D-inspired textures with 3D depth, remains a standout—giving the film a unique visual identity in the crowded animated marketplace. Fast camera sweeps, dynamic angles, and bold color palettes bring the world to life in a way that feels almost comic-book in energy.

The film also benefits from the natural chemistry of its returning voice cast. Sam Rockwell’s cool, charismatic Wolf still anchors the ensemble, with Marc Maron’s grumpy, sarcastic Snake providing the perfect counterpoint. Anthony Ramos, Craig Robinson, and Awkwafina all reprise their roles with gusto, their comedic rhythms still snappy and fresh. The addition of Danielle Brooks, Maria Bakalova, and Natasha Lyonne as a rival team of all-female criminals injects a welcome jolt of new energy into the mix, even if their screen time sometimes feels unevenly balanced.

The sequel’s script leans heavily into the banter and mismatched camaraderie that made the first film so charming. Witty exchanges fly fast, and younger viewers will appreciate the physical gags, while adults will catch the clever pop-culture nods and sly asides. Still, for all its snappy dialogue, there’s a slight sense of déjà vu in the story beats.

This isn’t necessarily a bad thing—many successful sequels stick to the “if it’s not broken, don’t fix it” formula—but in The Bad Guys 2, the predictability occasionally dampens the tension. The stakes are certainly bigger, with more elaborate schemes and heightened risks, yet some of the plot’s twists feel telegraphed well before they arrive. The emotional core, however, remains intact, with themes of trust, redemption, and found family underpinning the action.

If there’s one area where The Bad Guys 2 truly shines, it’s in its set pieces. The heist sequences are impeccably staged, with kinetic energy and playful inventiveness. Whether it’s a daring infiltration in a high-security facility or a chase through a bustling cityscape, the film’s action is always visually engaging.

Perifel and Sans know how to choreograph animated action in a way that keeps it clear yet thrilling—avoiding the chaos that sometimes plagues fast-paced animated films. The editing is tight, the animation crisp, and the score—peppered with jazzy, rhythmic beats—drives each scene forward with style. The filmmakers also make good use of visual comedy during these moments, ensuring the action doesn’t lose its sense of fun.

Sadly, the script sometimes struggles to juggle the expanded cast. The original crew’s banter occasionally takes a backseat to the newcomers’ subplot, and while the newcomers are fun, some of their motivations feel underdeveloped compared to the main gang’s well-established arcs. Still, the interplay between the two groups delivers some of the film’s most entertaining moments, particularly when egos and skillsets clash.

As with its predecessor, The Bad Guys 2 boasts a sleek, stylized animation style that feels distinct from the standard glossy look of many big-studio animated films. The film’s bold use of lighting—particularly during nighttime sequences—and painterly textures give it a vibrant, tactile quality. Costume and prop design also shine, with elaborate gadgets, disguises, and vehicles that fit perfectly into the film’s playful crime-caper tone.

The sound design matches the visuals in precision and creativity. From the subtle click of lockpicks to the roar of rocket engines, every audio element feels intentional. The score blends cool, jazzy undertones with more modern, pulse-pounding beats during action scenes, maintaining a tone that’s both sophisticated and energetic.

If there’s a major drawback to The Bad Guys 2, it’s that the narrative occasionally feels overstuffed. The film juggles redemption arcs, personal rivalries, elaborate heist planning, and multiple antagonists—all while keeping the comedic energy high. While the brisk pacing helps mask this at times, the story occasionally sacrifices depth for momentum.

This results in certain emotional beats landing with less impact than they could have. A few quieter, more reflective moments are present, but they’re often quickly swept aside to make room for the next big gag or action beat. The balance between heartfelt storytelling and rapid-fire comedy isn’t always as seamless as in the first film.

The Bad Guys 2 delivers exactly what fans of the first film will expect: slick visuals, sharp humor, and a charming ensemble of lovable rogues. It successfully builds on the original’s style and tone while expanding its universe with intriguing new characters. However, the sequel’s tendency to overcomplicate its plot and lean into predictable beats keeps it from reaching the same creative high as its predecessor.

For families, it’s still a vibrant and entertaining ride, offering plenty of laughs and action for younger viewers, and enough wit and style to keep adults engaged. For animation fans, it remains a showcase of DreamWorks’ willingness to experiment with visual identity, standing apart from the more conventional styles of its competitors.