The bad guys 2: a perfect breakage [critique]

Pierre Perifel delivers a sequel that surpasses the previous episode on all levels, proving that one can make intelligent family entertainment without sacrificing either action or visual inventiveness. One of the summits of DreamWorks.

Three years after their redemption, our favorite criminal animals are struggling to find their place in society. Difficult to win a job when you scored “notorious robber” on your CV! But when a mysterious female team – the bad girls – sows chaos, Mr. Loup and his gang are forced to get out of their retirement for “a last blow”. The perfect opportunity to prove that they have definitely turned the page.

Pierre Perifel delivers a suite that surpasses the previous episode on all fronts. The French director transforms this adventure into a real love letter to the spy film, multiplying tasty winks at Mission: Impossibleto the James Bond or at the Hitchcockian thrillers. Each infiltration sequence vibrates with a communicative energy, carried by a rhythm that never lets the spectator breathe. Visually, it’s a festival. Perifel and his team explore all the registers with a crazy audacity: Miyazaki plans for breakage scenes (the end on the rocket is a disheveled tribute to Lupine), aesthetic comics for certain proceedings, 3D sophisticated for action … This constant hybridization is not free, since it serves the hybrid DNA of the film which is constantly advancing between family animation and