Even though it’s based on a popular series of children’s books, if you’ve seen Zootopia, you’ve seen the better version of The Bad Guys. As far as entertainment aimed at the wee ones, you can certainly do worse. It’s brisk, silly, and the animation is quite enjoyable, adding hand-drawn overlays and accents that really make the images pop and provide additional, gratifying textures. The story, on the other hand, is the same old-same old. We have a group of “scary animals” in a world where anthropomorphized creatures walk side-by-side with humans. These spooky creatures get a bad rap because people fear them, so they lean into social prejudices and become a notorious criminal gang. Except now they might want to go good because being good feels better than being bad. Thematically, it’s the same territory that Zootopia trod and with better world-building. We have “bad animals” that are tired of being looked as bad because people wrongly interpret them as scary threats. It’s the predator/prey dynamic but without the depth. Having an all-animal heist crew provides some creative entertainment and Ocean’s 11-style moments of frothy fun; I especially enjoyed that the giant shark is the team’s master of disguise and always very obvious. The character arcs, supposed betrayals, redemption, and plot should be familiar and predictable, which means much of the movie must coast on the appeal of the animation, vocal actors, and general sense of humor. The comedy can be amusing but too often falls upon cheap gags, like the piranha’s defining trait of being a nervous farter. The Bad Guys is suitable for animation aficionados, fans of the book series, and people who have never seen Zootopia, and if that’s you, then just watch Zootopia.
Nate’s Grade: C+
I needed to watch Soul twice before I fully processed how I felt about it. Pixar’s latest animated wonder follows a New York City music teacher named Joe (voiced by Jamie Foxx) who goes into a coma right before his big break playing for a jazz legend. He’s transformed into a cuddly little blue tuft of cloud creature and informed his soul is ready for The Great Beyond. In a nod to Heaven Can Wait, Joe indignantly fights his way back to Earth to reclaim a life he felt was just now getting on track. His ticket back to Earth is through mentoring a surly, pessimistic young soul 22 (Tina Fey) that nobody seems able to reach, even Mother Theresa. Early on, there are two very clear realizations. First, Soul is beautiful to look at and very weird and art deco with its character designs in its spiritual realms. Second, the world building and rules of this special world are quite convoluted. Unlike Inside Out where you were dropped into a new world and all the parts added up with a sense of logic, the spirit world and especially the process of how baby souls become what they are seems hazy and arbitrary and not fully articulated. This confusing world building also includes the idea of people “being in the zone,” lost souls wandering the land as lumbering monsters, and a traveling group of mystics that can meditate their way into this higher plane of existence. That’s even before a second act trip back to Earth that reminded me of Brave and leaned into slapstick and comical misunderstandings. There is a soul guardian on the hunt for Joe to keep things back in order, though the consequences of a soul count being out of whack are never explained. I thought this antagonist character was going to amount to much more but is mostly forgotten. Where Soul succeeds is with its heart about people trying to find their spark, that special something that lifts their spirits and makes them who they are, and I think it’s an important lesson that it’s not the same as a purpose. The comedy banter between Foxx and Fey is solid and there are some funny sequences and a few gags that impressed for going the extra mile. I was interested from the opening moments but I cannot say I was terribly emotionally invested. Part of this is because the movie swiftly runs through so much world building and rule-setting in 90 minutes, partly because the character of Joe is a bit close-minded in how he designates success, and partly because the young character of 22 feels more like a sidekick than a developed supporting role. The musical score by Atticus Ross and Trent Reznor is highly original and evocative. It was providing an emotional resonance and wonder I found missing at other points in the film. It feels very ethereal and propulsive and just new and exciting. The climactic track “Earthbound” feels so stirring and emotional and light. It’s my favorite film score of the year. Soul is a fun and imaginative movie that has some wrinkles with its world building, characterization, and delayed emotional investment, but even a second-tier Pixar movie means it’s still one of the better movies you’ll see for 2020.
Nate’s Grade: B
If scientists could take time away from, you know, curing diseases, and craft the perfect blend of “meh” in a lab, it would be The Watch. It’s not particularly offensive or terrible but it’s certainly not good. The humor of boys misbehaving and talking tough doesn’t ever seem to get further than the initial concept. The movie ends up becoming a more crass version of Ghostbusters, with a special fascination for the male member. This is a very penis-obsessive movie. Usually guy-centric sex raunchy comedies will definitely feature strong discussion/comedy revolving around male genitalia, but this is one of the few movies where complete storylines hinge upon penises (weird imagery, I’ll admit). Ben Stiller, Vince Vaughn, and Jonah Hill are more annoying than anything else. Poor Rosemarie DeWitt as the underwritten wife role in what is essentially a boys-behaving-badly movie (also her second 2012 movie where she’s trying to get pregnant). When the movie goes full-force into action mode, it loses just about any semblance of comedy. I laughed about three times, and that was thanks to Richard Ayoade (TV’s The IT Crowd) and, believe it or not, Will Forte (MacGruber). Sitting through 105 minutes with little laughs, irritating characters, and poorly conceived action in place of genuine comedic payoffs, well it’s not exactly a recipe for a successful summer comedy. And yet, with all its obvious faults, I couldn’t hate the movie as others have. It’s certainly not likeable but it does go about its business with a certain swagger, albeit misguided. Cocky loudmouths failing at entertainment are still marginally better than artists who don’t even try. It sounds like I’m reaching, and I am, but The Watch, certainly a bad comedy, may eventually be worth a watch when, you know, it’s on TV and you can half-heartedly pay attention to it while you go about your day.
Nate’s Grade: C-