Anchorman 2: The Legend Continues (2013)

Harley finds the sequel overlong and too reliant on recycled jokes, but says its fresh comic energy keeps it entertaining. He especially praises Ferrell’s improvised episode involving wanking and sharks.

Foundas finds the sequel generously funny and welcome, even if it is less quotable than the original. He especially praises the cast’s improvisational energy and the film’s satire of sensationalized television news.

The standfirst suggests an enthusiastic verdict on the film’s comedy. It singles out the anarchic brio of Will Ferrell and Adam McKay’s approach.

Simon presents the sequel favorably, calling it every bit as oddly extravagant as the original. The accessible standfirst singles out its epic weirdness as the chief virtue.

Kenigsberg finds the sequel scattershot, with plenty of hits and misses, but suggests it may grow funnier with repeat viewings. He praises its sharp idea about cable news normalizing sensationalism and unverified reporting, while noting that some scenes and subplots misfire.

McCarthy finds the sequel funny and bawdy, though it takes time to hit its stride and loses focus as the plot gives way to sketches. He singles out Will Ferrell’s performance and his exchanges with Meagan Good and James Marsden as particular highlights.

The review finds the comedy often funny but ultimately disappointing because it could have been better. It praises Brick’s disturbingly funny romance and Ron’s performance as a blind man.

Edelstein finds the sequel excessive and uneven but ultimately worthy of Ron Burgundy. He singles out a quieter sequence about Ron, Veronica, their son, and a wounded shark as the film’s most moving and hopeful stretch.

The page could not be accessed, so the critic’s verdict is unavailable. No specific praise or complaint could be verified.

Jolin finds the film overlong and uneven, but says it still delivers considerable laughter and pointed satire. He singles out Ferrell’s newsroom scenes and the film’s defense of investigative journalism, while criticizing the repeated gags and stretched segments.

Papamichael presents the sequel as a rib-tickling continuation, praising Will Ferrell’s eccentrically florid comedy. The available excerpt cuts off before revealing any specific complaint or fuller verdict.

Pulver finds the sequel uneven, but says it should please Ron Burgundy’s fans. He praises its regular run of strong gags, while faulting the sagging middle and final acts.

The review calls the sequel perfectly adequate rather than a top story. The available metadata offers no specific praise or complaint beyond that muted verdict.

Cabin finds the sequel a bloated, limp comedy that recycles old jokes and ideas. He singles out the comedians as its only noteworthy element, while criticizing the constrained performances and pandering storyline.

Sharkey finds the sequel overlong and overstuffed, though its characters provide distinct pleasures. She especially praises Steve Carell and Kristen Wiig’s strange, funny romantic chemistry.

Burgin finds the sequel a compelling continuation rather than a repetition of the original. He praises the cast’s committed performances and the film’s bursts of inventive, tear-inducing absurdity.

Lambie finds the sequel uneven, with less freshness and creativity than the original, though its best scenes still deliver laughs. He praises the intimate, character-based moments for recapturing the original’s inventive comic spirit.

Reynolds finds the sequel funny and satisfying for devoted fans, though overlong and short on memorable one-liners. He praises Ron Burgundy’s obliviousness and the film’s satirical take on rolling news, but says Brick’s scenes wear thin.

The critic finds the sequel hilarious and entertaining, but increasingly self-indulgent and weakened by a disappointing finale. He especially praises Steve Carell’s Brick Tamland, who steals the show and balances the ensemble.

The critic finds the film manic and unpredictable, with comedy that survives through constant replacement of failed jokes and subplots. He singles out Burgundy’s industrial-scale ability to survive blunders, while criticizing the film’s persistent insensitivity.

The critic finds the film’s barrage of jokes intermittently funny but ultimately flimsy and exhausting. They praise its supply of comic ideas while faulting the lack of structure and meaningful roles for women.