The Bad Guys: A Stylish Heist with Underwhelming Depth

The opening heist in The Bad Guys (2022) is a kinetic marvel—a jewel thief wolf scaling a skyscraper with the grace of a parkour artist, his fur ruffling in the wind as alarms blare. Director Pierre Perifel’s animated feature, based on Aaron Blabey’s graphic novel series, throws its audience headfirst into a world where anthropomorphic animals commit crimes with panache.

The film follows Mr. Wolf (Sam Rockwell) and his crew of criminal animal misfits—Snake (Marc Maron), Tarantula (Awkwafina), Shark (Craig Robinson), and Piranha (Anthony Ramos)—as they attempt to go legitimate after a lifetime of heists. The premise is simple, but Perifel’s direction keeps the energy high, with vibrant visuals that owe a debt to both classic Looney Tunes and modern action cinema.

Rockwell’s Wolf is the standout performance, his voice work striking a perfect balance between charm and menace. Awkwafina’s Tarantula delivers sharp one-liners with deadpan precision, while Maron’s Snake provides a grumpy counterpoint to the group’s antics. The chemistry among the cast is palpable, elevating even the film’s more predictable moments.

Where The Bad Guys falters is in its script. The jokes often rely on broad stereotypes and easy laughs, particularly in the way the characters are initially introduced. Tarantula’s character arc, for instance, feels underdeveloped, reduced to a one-note gag about her lack of critical thinking. The film’s attempt to challenge preconceived notions about its villains is admirable, but it too often settles for shallow humor rather than digging deeper into their redemption.

The action sequences are undeniably fun, with Perifel employing dynamic camera work and rapid-fire editing to keep the pacing tight. However, some of the set pieces—like a chaotic car chase through downtown Los Angeles—feel more style over substance, prioritizing visual flair at the expense of narrative coherence.

The Bad Guys is a solid entry in the family-friendly animated action genre, but it never quite rises above its influences. It’s a film that knows how to entertain, but not always how to engage on a deeper level.