The Bad Guys 2 (2025)

It's always a good sign when everyone returns for a sequel, and I cannot spot anyone major missing, either behind or "in front" of the camera, from The Bad Guys 2. Considering I enjoyed the first movie enough, thanks in no small part to the style and the voice cast, I was optimistic about this. That optimism was not misplaced.

Some time has passed, of course, and the bad guys are spending their time trying to be good guys. That's hard when you have earned the kind of reputation that they have earned though. It's even harder when someone is pulling off the kind of robberies that would seem to be very much in line with the M. O. of the bad guys. Hoping to crack the case and change the opinions of people who won't let them move away from their past, Wolf (Sam Rockwell), Shark (Craig Robinson), Tarantula (Awkwafina), Piranha (Anthony Ramos), and Snake (Marc Maron) quickly put themselves in a situation that makes them look even more guilty than ever, much to the frustration of Diane Foxington (Zazie Beetz).

Just as fun and lively as the first movie, The Bad Guys 2 is a pretty perfect sequel. It may not surpass the first film, but it's a very close call. And it made me laugh hard with a couple of perfectly-executed fart gags I assume will go down equally well with younger viewers. Pierre Perifel is now happy to share directing duties with JP Sans (who worked in the animation department for the first film), and Etan Cohen is now happy to collaborate with Yoni Brenner on a screenplay once again born from the books by Aaron Blabey.

The central cast remain perfect in their roles (as well as those mentioned, Richard Ayoade and Alex Borstein also reprise roles from the first film) and there are equally entertaining performances from Omid Djalili, Colin Jost, Natasha Lyonne, Maria Bakalova, and a few others. Is the plot a bit obvious and predictable? Yes. It's also easy enough to let wash over you as each sequence packs in a fantastic selection of action and gags. 

Perfect for kids (and those as childish as me), The Bad Guys 2 once again nicely reworks the standard  heist movie tropes, adds even more peril, as happens in many sequels, and provides a very nice excuse to spend some more time with some very entertaining and cool characters.

And look, just in case anyone misunderstands how old or mature I actually am . . . let me just emphasise that it was a VERY good fart gag. Otherwise I wouldn't have felt the need to mention it here. Honest. 

7/10

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A Minecraft Movie (2025)

Five writers worked on this screenplay. FIVE. And someone else helped two of those writers to come up with the story idea. So that's six people who had a helping hand in getting this into something resembling a movie. And the best they could come up with was a fan-pleasing collage of absolute nonsense that will leave viewers wondering why everyone involved just tried to remake The LEGO Movie, but make it shit.

Jack Black plays Steve, a man who is happy to find himself in the Overworld (AKA Minecraft world). Unfortunately, his happiness is curtailed when he is transported to the Nether, ruled over by a Piglin leader named Malgosha (voiced by Rachel House). Steve hides away the powerful artefacts that Malgosha wants to own, which are then found by young Henry (Sebastian Hansen) and a down-on-his-luck ex-videogame champ named Garrett (Jason Momoa). Henry is followed by his sister, Natalie (Emma Myers), and a friendly realtor named Dawn (Danielle Brooks). Meanwhile, one of the Overworld inhabitants ends up in our world, where they end up on a date with Vice Principal Marlene (Jennifer Coolidge).

Trust me, that made about as much sense to me while I wrote it as it did to you while you tried to read it. That paragraph may seem like a mess, but it's nothing when compared to the mess that is this movie. It's worth saying right now, however, that my own negative opinion of the film is redundant. It's already been a huge success, I am sure it will continue to be beloved by the fanbase for some time to come, and I am at the disadvantage of viewing it as someone with only the most cursory passing knowledge of the videogame it is based on.

I'm still allowed to complain about the time I wasted on this though, and complain I bloody well will. I'll give most of the blame to the writers, but there's a large part of me that suspects I should also save some finger-pointing for anyone who encouraged Black and Momoa to basically fool around in front of the cameras while they came up with numerous extra references and gags. This is a loud and busy film, for the most part, and Black and Momoa are the main reason for that. Whether you're a fan of the game or not, I'd love to hear from anyone who listens to the opening exposition dump from Jack Black's character and wants to try telling me how that was the best way to open this film. And yet . . . that opening soon becomes the only time that has Black being bearable.

Director Jared Hess can do quirky, of course. He's made it his brand for the past two decades, and a couple of the writers here are used to that (having worked with him on a couple of his previous projects), but A Minecraft Movie isn't the kind of quirky that we've seen in his better films. It's quirky in a way that feels far too random and incoherent, barely holding together as the thin plot moves from start to finish. Which may feel appropriate for those who know that Minecraft isn't really a story-driven game, but falls down for those after a movie experience that they can get their head around.

Hansen is decent as the one lead who feels like a fairly normal human, and Myers is really good as his concerned sister. Brooks is a lot of fun in her role, and manages to show how to be funny without shouting over everyone around her or gurning through an amusing selection of facial expressions (a la Coolidge, who I still enjoy here, but it's not her finest hour). House is always a fun addition, and her vocal performance is entertaining, and that covers the main performers who seem to stay at least somewhat tethered to something resembling a constructed reality. Momoa and Black are orbiting one another in a separate solar system from everyone else, a vacuum that ensures a deadening of their constant stream of blurted game-related terms and unfunny gags.

The score is bad, the visuals are . . . in line with the game (which gives them a great excuse), and the only time I really chuckled was during scenes with Coolidge falling for the odd-looking "escapee". Nobody will care about this dissenting opinion though. I'm not the target audience, and I'm not going to change the mind of anyone who IS. I've said it many times before though, you're allowed to enjoy something tailored to your own tastes and preferences while also wanting something that has been made with care and passion. This feels like it lacks both of those qualities, and I am surprised that Minecraft players have helped to make it such a resounding success.

3/10

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The Color Purple (2023)

I was worried about making this my first full experience of The Color Purple, but I felt that my experience of the story was long overdue. Having not read the book by Alice Walker, nor seen the previous film adaptation by Steven Spielberg (I have to be in just the right headspace to watch something I anticipate being so heavy-going, which is why I have STILL yet to watch Schindler’s List), I was vaguely aware of the fact that it had also been turned into a successful musical, but I had no idea how that would work with the disturbing content. Having now watched this film, an adaptation that uses numbers from the musical, u still have no idea how the two elements are supposed to work together. Because they don’t, not for me anyway, but some others disagree.

Here’s a very basic plot summary. Celie (Fantasia Barrino) has been abused by her father, and has subsequently given birth to children that were almost immediately taken away from her. She is then handed over to be married to Mister (Colman Domingo), an abusive and horrid man who just wants a woman to look after his older children and keep the house in order. Mister is angered when his son, Harpo (Corey Hawkins), becomes involved in a serious relationship with the confident and outspoken Sofia (Danielle Brooks), but his mood is lifted by the arrival of a woman he obviously prefers to his own mistreated wife, a singer named Shug Avery (Taraji P. Henson).

With writer Marcus Gardley translating Marsha Norman’s stage version of the material into movie form, it’s hard to be overly critical of a film that has the hurdle of such a strange mix at the heart of it. The script has moments that still work, powerful moments that remain as effective and shocking today as they did when they were first written, but viewers know that the tone and flow of the narrative will eventually be spoiled by some musical numbers. Which is easy to accept if the musical numbers are memorable and impressive enough. With perhaps one exception, these are not.

Director Blitz Bazawule hasn’t done anything else that I’m familiar with, but his relatively small filmography has at least a couple of entries pointing towards the reason for putting him at the head of this production. He does well enough, although I do wish the visuals throughout had been more interesting, if they had made a stronger choice on how to depict the world we’re taken into, but is as hampered as the writer by the source material.

The cast, thankfully, do great work with what they are given. Barrino may be depressingly passive for most of her journey, at least until she finds even deeper reserves of courage amidst the ongoing abuse and indignities, but she remains sweet and easy to root for throughout, showing someone trying to make the best of a situation that is seemingly destined to never improve. Domingo plays a loathsome figure, supported in his choices by his own father (Louis Gossett Jr.) in one or two scenes, and he doesn’t try to sugar-coat his brutishness, for the most part. Hawkins is good, playing an entitled young man who seems to be very much poised between turning out good or bad, and a number of other supporting cast members do solid work. But it’s Brooks and Henson who stand out, both portraying women who refuse to stay in whatever pigeonhole the world wants to put them in. The film rises up whenever one of these two women appears onscreen, and they ultimately make the whole thing feel bearable. They let the viewers remember that things can change in much the same way that they inspire hope in our lead character.

It’s all put together well enough, this certainly doesn’t feel lazy or careless, but The Color Purple still remains, for me, a powerful story that shouldn’t be rudely interrupted by occasional songs. I look forward to anything that these cast and main crew members do next. I just really hope that it’s not another musical.

5/10

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