The Bad Guys 2 review – gang of cuddly animal criminals get pulled back in for one last heist

Snappier, funnier and more relaxed than the first film, this caper sees the crew dragged back to villainy by a ‘MacGuffinite’ plot Here’s one of the few animated kids’ sequels you can approach without strapping into a hazmat suit for protection. DreamWorks’s franchise hits its stride with this minor upgrade – a snappier, funnier and more relaxed movie than the original. It begins like a Bond or Bourne with a death-defying car chase around Cairo after the gang of criminal predators pull off yet another a splashy heist. Behind the wheel of the getaway car is ringleader Mr Wolf (voiced by Sam Rockwell, and doing such a decent Clooney impersonation that George should shake him down for royalties). Actually, the chase is a flashback to five years ago. Right now, in the present, Mr Wolf, Mr Snake, Mr Shark and the gang have gone straight. But their fresh start as good guys is scuppered by a snow leopard and a frame-up for a series of daring heists involving a precious metal called MacGuffi...

Behind the scenes with Sofia Coppola: memories from a life in film

The celebrated director looks back at her career, sharing the inspirations and experiences that shaped films from Lost in Translation to her forthcoming biopic, Priscilla​. Words by Sofia Coppola, introduction by Kathryn Bromwich

There is a particular aesthetic that runs through Sofia Coppola’s work, whether she is turning her gauzy, feminised lens on the southern gothic of The Beguiled or urban alienation in Lost in Translation, the rococo excesses of Marie Antoinette or disaffected suburban youths in The Bling Ring. Coppola is adept at creating heady atmospheres and worlds that feel fully realised, her characters veering between emptiness, desire and repression; the frames in her films have a painterly quality, straddling the line between beauty and claustrophobia. Her singular style has influenced much of contemporary popular culture, from Lana Del Rey’s wistful music videos to Emma Cline’s novels about lonely and potentially dangerous young women.

Coppola’s first book, Archive, collects behind-the-scenes ephemera from her films, starting with her 1999 directorial debut, The Virgin Suicides, and ending with her forthcoming biopic of Elvis Presley’s young bride, Priscilla. Holed up at home in Napa, California, during the pandemic, Coppola started to go through boxes of old material: Polaroids, early scripts, clippings, letters, doodles. These discarded objects had taken on a nostalgic quality over the years, and so Coppola put together the most meaningful mementoes from each project, accompanying them with musings and personal recollections. Speaking to journalist Lynn Hirschberg in the book’s introduction, Coppola reflects on Priscilla, which premieres at the Venice international film festival next month. “Across all my films, there is a common quality: there is always a world and there is always a girl trying to navigate it. That’s the story that will always intrigue me.” Kathryn Bromwich

Continue reading...

from Film | The Guardian https://ift.tt/yzc6lKq
via IFTTT

Comments

Popular posts from this blog

BREAKING: Interstellar back in cinemas due to public demand; Dune: Part Two to also re-release on March 14 in IMAX

EXCLUSIVE: Mona Singh gears up for an intense role in an upcoming web series; Deets inside!

The Fans Were Silent As 64-Year-Old Sharon Stone Appeared Topless