Mr. Wolf and Mr. Snake chat in a restaurant before robbing a bank, then embark on a chase with the police on the streets of Los Angeles. In less than five minutes, the bad boys he’s chained enough winks to knock our eyes out and controlled drifts to get our attention. Sold by the manager as “a Tarantino for children“the new Dreamworks extends its cinematic influences from its counterproductive introduction that looks both on the side of pulp fiction and reserve dogs only heist movies steven soderberg and gangster movies richie boy.
From close-ups, the playful discussion of the benefits of eating turkey hogs is reminiscent of the prologue to pulp fiction and Samuel L. Jackson and John Travolta’s ramblings on Royal Cheese. The team’s freeze-frame presentation is inspired by the particularly rhythmic exhibition scene of Snatchwhile Mr. Wolf, charismatic and phlegmatic, openly follows George Clooney’s model ofOcean’s Eleven (but with the look of Brad Pitt’s character).
Mr. Snake also has the same look as Johnny Depp in Las Vegas Parano
In a more general way, the tributes slide towards rhythmic montage, the cut of the image, well-turned lines (“Of those who tell you that the glass is half empty to steal it“), but also in the music composed by Daniel Pemberton that mixes funk and jazz and echoes the scores of Snatch and Ocean’s Eleven.
Dreamworks knows how to engage adults by bombarding them with cultural and, above all, cinematographic references, their masterpiece being the saga Shrek -, plus the bad boys unfortunately it turns out to be less cool, cheeky and hilarious than this first sequence suggests fool the eye And after the first half hour, there’s not much smart or relevant to get out of this benign, burlesque take on cult adult flicks.
The robbery scene that serves as a pivot in the story, therefore, only offersa mosaic drenched in all the tricks and established figures of the genre : Infiltrate, hack cameras and surveillance systems, distract security guards, open doors and knock out two or three security guards. And it’s not the fact of planting a transvestite shark in the middle of the set that makes the moment more surprising or interesting.
The crime was almost perfect.
WHO IS VERY BAD?
It is not the first time that animated films are interested in the “bad guys” and characters who are usually the antagonists of the stories. This was already the case with Shrekand more particularly the rebellion of the wicked in shrek 3but also with the forgettable supervillain megamindand of course Me, ugly and bad in the competition
And how the bad boys it is mainly aimed at children, it does not forget to correct the situation and bring its anti-heroes back to the side of Good, which very clearly delimits from Evil, pitting them against an even more ill-intentioned enemy. Along the way, the film is forced to abandon its heist storyline to bring his candid morality on the power of friendship and the joys of redemptionfar from the madness of Tarantino or Guy Ritchie.
Don’t worry, they love each other very much and they will soon tell you.
The villains are more buffoonish than Machiavellian, and their motivations remain shallow, as does their characterization. Mr. Shark and Mr. Piranha play the traditional funny sidekicks that make noise and move in all directions as soon as you look at them, which discredits their status as villains, unlike the sarcastic Mr. Snake that the script pays more attention to.
What remains is a skewer of often-heavy petomaniac gags, the obligatory musical sequence, the uninspired sitcom (the pilou-pilou unicorn onesie gang), and the ludicrous comeback with reversals of the situation visible from the Moon. This agreed-upon scenario makes hearts with their fingers and farts with their armpits to obtain the favors of the youngest.. Even the prejudices and social labels that the film wants to denounce do not lead to a more mature and sharp second reading or strong emotional problems as can be found in other films from the studio. Instead, we’re treated to a tide of possessed guinea pigs stealing armored vans, which will likely appeal to the target audience (and that’s about it).
That’s what uninhibited fun is all about
if not original, the bad boys it has a strong and elegant visual identity. To differentiate itself from the studio’s all-digital productions and from animated film in general, Pierre Perifel opted for a mix of decorations and 3D and 2D elements. This overlay aims to approach the less fluid line of comics in an artistic approach that is sometimes lacking in finesse, but not in interest.
The director has also claimed the influences of designers and screenwriters Albert Uderzo and André Franquin to justify his desire to move away from realism and the increasingly uniform graphic charter of Dreamworks, Pixar and Disney.
This more cartoonish universe is based on the liveliness of the animation, which takes up certain strong visual markings of Japanese animation and American cartoons, thus contributing to the dynamism and energy that runs through the story from one credit to the next. In addition to its more unusual aesthetic, the film is also less motley, favoring ocher tones to bathe Los Angeles in a soft, warm light that lends a bit more cache to this woefully too perfectible work.