Trolls World Tour is overflowing in color and a cheerful tune, just like its predecessor in 2016: fun, goodhearted, and the movie equivalent of a pounds of sparkle on your face. This spirited sequence follows its key characteristics, exploring mysterious lands beyond their boundaries, which offer countless occasions for vigorous musical montages and serious messages to accept our differences. But no amount of ridicule can detract from a meager tale of World Tour — or the gnawing suspicion that the event is aiming excessively stimulated young audiences who want nothing but a continuous sensation. But it’s not just the story.
Instead of releasing this blockbuster at home on a demand on April 10, Universal’s tradition is to forgo a theater debut, which anxiously proved to be a test case for potential day-to-day studio activities. Parents who are desperate for child-friendly entertainment will sail into this animated DreamWorks production, and those who love the combination of perky pop songs, intelligent comedy, and sappy feelings of Trolls should be able to repeat their recipe.
As the latest film comes into being, Poppy, spoken by Anna Kendrick, is now the Troll’s Queen, unaware of her friend’s deep affection for Branch (Justin Timberlake). But, soon afterward, Poppy will realize that her tribe has been threatened by a Queen Barb (Rachel Bloom), whose Hard Rock kingdom seeks to conquer the other Trolls, which is not the only one in the world – herself is merely the Pop kingdom.
The first film’s strengths are doubled by Producer Walt Dohrn and Co-Director David P. Smith. If Trolls had a wide variety of pop-radio hits, the follow-up throws in other kinds, which means that anything from ‘Atomic Puppy’ to ‘Barracuda’ is amply replicated in a few Beethoven symphomas. And as always, spectators are bombarded with bright reds, blues, and pinks. Each picture is a vivid delight as decorative glitters and whimsical backgrounds.
But what is harder for the five well-known screenwriters of World Tour is a more sophisticated story than a curious hunt. Poppy and Branch went to the others, hoping that before Barb and his headbangers plunder their magic musical string, they would be able to meet each other.
This opens the door for waving gags about musical styles, and some cheeky hints are made of smooth jazz, reggaeton, and K-pop, each genre represented in Trolls, who display the unique characteristics of this brand. Those with a large record collection would enjoy the in-jokes, not to mention the notion that we will all be expanding our music training.
However, as with Trolls, World Tour appears to be hyperactive and fizzy, not reminiscent. The rush of numerous songs, whether classical or film-written, gets tired as if the film doesn’t want us to take a minute to think or breathe. And although it argues the value of diversity — claiming that different kinds of Trolls should exist in harmony — the musical numbers are homogenized with a cookie-cutter, each of which is put on a similar scale as a manic showstopper, which makes World Tour begin to feel monotonous.
Fortunately, even though their competing personalities are not used to laugh cleverly, Poppy and Branch remain fun businesses. In their smiling eyes and moving movements, the animators continue to do a brilliant job of portraying Kendrick’s individual as his exasperated character matches Timberlake’s deadpan comic timing.
However, there is nothing to say to the ensemble. Bloom’s Barb is a one-note rocker, and the groovy Funk Trolley is not much Anderson. Paak (although responsible for one of the best new songs). Like the original Trolls, the sequel works better when Poppy and Branch flirt, but they still take a seat back to the frenzy of the movie. It’s a shame the song stays similar.