
Movie review
July 24, 2025 · 104 min · PG · Kids · Animation · Comedy · Crime · Adventure · Family
The Bad Guys 2 follows Mr. Wolf and his animal crew after they leave prison and try to live as honest citizens. They cannot find work because people still fear their criminal past, and a new all-female crew pulls them into one last global heist. The job moves from car chases and a wedding trick to a rocket and a dangerous space plan. The film uses bright animation, fast action, slapstick jokes, and a warm story about friendship.
The clearest woke element is the repeated girl-power setup. Kitty Kat, Doom, and Pigtail form a skilled female crime team, while Diane Foxington remains a governor, mentor, and strong fighter. The women often control the plan and shape the biggest personal conflict. The main story still centers on redemption, trust, loyalty, and the struggle to choose good after a life of crime.
Community feedback
Was our 44% Woke rating accurate?
Breakdown
These are the editorial factors and ratings behind our score for The Bad Guys 2.
Woke representation / casting
The film gives major roles to an all-female rival crew called the Bad Girls. Kitty Kat leads the group, Doom handles its planning, and Pigtail is its engineer. Diane is also a governor, mentor, and skilled fighter. This repeated female leadership pattern is more than a background mix, but the film does not build its casting around a broad race or identity campaign.
42%
Woke political dialogue
One driver mocks Wolf’s battered vehicle by saying, “Nice carbon footprint, jackass.” The line uses a current climate phrase as a joke. The film does not repeat climate, DEI, gender, or activist language.
8%
Identity-driven story themes
The film makes the all-female Bad Girls a major part of the conflict. Kitty, Doom, and Pigtail are skilled criminals who set the terms for the central job and repeatedly outplay the male crew. Diane also solves key problems and wins the main hand-to-hand fight with Kitty. These choices create a clear girl-power and female-competence message, but redemption and friendship remain the larger story.
55%
Western institutional / cultural critique
Not present. The film jokes about rich people, police work, and a space-company owner, but it does not turn them into a modern activist attack on Western systems. The conflict is a standard heist story about criminals, trust, and world-saving stakes.
0%
Woke character or canon changes
Not relevant. The film adds new criminals and expands Diane’s past without changing a known character’s identity.
0%
Anti-woke backlash and complaints
Some conservative viewers criticized the film for pushing girlboss ideas because the female characters are shown as physically superior and highly competent compared to the clumsy male characters.
15%
Creator track record context
The directors’ public interviews focus on animation, action, and redemption. Pierre Perifel described the new women as a change from the usual male Bond-style villain, but he did not frame the film as a political project. Aaron Blabey’s work favors outsiders, second chances, and self-acceptance without a strong activist record. The main creators therefore add only a weak context signal.
8%
Production