Jessica Rothe, Israel Broussard, Phi Vu, Ruby Modine, Rachel Matthews, Charles Aitken, Suraj Sharma, Sarah Yarkin, Steve Zissis
Theaters everywhere 13 February
Most of the sequels are temporal distortions: it is the public that remains locked in loop, experiencing the same premise everywhere yet. So it should not be a shock that Happy Death Day 2U can find a way to zapping the sorellity girl Tree (Jessica Rothe) right in the live-die-repeat cycle that escaped at the end of the horror comedy of the 2017 sleeper Happy Death Day . The tree, of course, is bruised, and as he rushes into the same morning campus routine that has suffered to the point of nausea the last time, his volcanic exasperation is amusing, of course, but it also threatens to mirror our . After all, the first film had not already pushed the factor of déjà vu to the limit? We were not simply constantly reliving the same points in the plot of his main character frozen in time. We were also stumbling once again through Phil Connors' redemptive plan, looking at a selfish person Groundhog Day itself in basic human decency. Maybe Tree's shouted in the skies "Not again!" It is the right answer to a sequel that is pushing his luck by pushing the reset button on what was already a sort of re-run.
At first, it seems that the film could simply borrow a page from the slasher bible and pass the baton to another protagonist. The initial lengthening of the film is essentially an original speed run, but this time it is comedian Ryan (Phi Vu) who finds himself stuck in the amber of the time, he is killed and reborn immediately one day later his college roommate, Carter (Israel Broussard), helped Tree escape his respawn purgatory. It is not the most promising game plan, as much of the marginal fun of the first film has settled on Tree herself – and how much of a poor substitute for the stoner routine of Vu makes Rothe's comic agony. It seems to promise more or less the same, less the charm.
The thing is, more than it is not entirely what this new film offers. The happy surprise of Happy Death Day 2U is that finds ways to change the formula of its predecessor, to interrupt the franchise redundancy cycle. Apparently, Ryan is the only one responsible for these chronological records that jumps, due to his own situation and Tree & # 39; s. The culprit: a bizarre science project of the 80s, a machine called Quantum Cooling Reactor. It seems safe to say that no one has asked this series to explain the mechanics of his magical expedient. But in Happy Death Day 2U director and screenwriter Christopher Landon uses the mumbo jumbo goofy time-travel not only to bring his heroine back into a cosmic limbo, but to change the rules of his ordeal: The twist of film is that while the day is the same, the world itself is … different . His relationships have changed. Even the identity of the masked murderer is persecuting her and her friends.
The last time, it was Groundhog Day of course, which became self-consciously named. Here, someone paralyzes the twisted fun with a reference Back To The Future 2 . Fans of the first Happy Death Day may complain that the sequel loses some of the simple pleasure of the original, cluttering its thoughtful and undefined premise with too many intricately complicated complications, the the way Robert Zemeckis pursued a sci-fi comedy resonance with a less deep and more complex rollercoaster ride through multiple timelines. But the first film by Landon could honestly have complicated ; he has not done almost enough with his presumption Scream . The best thing in this regard, with great strides, was the inspired comic interpretation of Rothe, the multiple nuances of frustration that led to the existential crisis of Tree. Happy Death Day 2U brilliantly maintains the maniacal-neurotic energy of its protagonist: bellowing a "Ha!" Gnawing while the killer rolls down a flight of stairs, or grinning like a madman during a variation of slapstick Phil Connors suicide montage.
In many ways, this sequel not badly feels more marked by the expressive shtick of Rothe. Landon hardly ever seems to feel the horror, probably the right move, given the lack of suspense that seems capable of twisting from the scenes of homicide to hide and seek, most of which happens in the same few corridors as a curiously empty and boringly anonymous hospital. (For all the series borrowing from Wes Craven, he could take better notes on his mastery of tension and release.) Not that comedy is more sophisticated: the addition of a disapproving dean (Steve Zissis ) and a support of the lab's geek beats the mixture of the genre with a new dose of braggart Revenge Of The Nerds which is basically subtraction by addition. Nonetheless, Happy Death Day 2U at least knows what she has in Rothe, the queen screams like a delightful star of life balls. And if a sentimental and extravagant tear-off subplot actually lands, it's because of the honest feeling that the actor invests in Tree's new moral dilemma. Putting this premise through another iteration would almost certainly be exaggerated, but when did a slasher franchise come out while it was ahead? With Rothe on board, it would not be so bad, once again making the temporal distortion.