Frozen II (2019)

The critic gives the film an enthusiastic verdict, calling it another belter. The accessible text does not identify a specific element singled out for praise or complaint.

Erbland finds the sequel charming and surprisingly bold, arguing that it productively challenges the first film’s happily-ever-after expectations. She praises its gorgeous animation and singles out Kristoff’s power-ballad-style song as one of the film’s best moments.

Sexton says the sequel delivers, though it is less surprising and its songs are less well integrated. He praises Olaf’s performance and song, while criticizing the characters’ exaggerated body designs.

The critic finds the sequel irresistible. They praise its mix of big laughs, killer tunes and operatic moments.

The critic finds the sequel frequently dazzling and worth the return, despite a meandering, unclear plot. The animation is singled out for its jaw-dropping beauty and inventive imagery.

Bradshaw finds the sequel funny and likable but underpowered, with the franchise’s appeal beginning to thaw. He praises its stirring new Elsa song, “Into the Unknown.”

Chang finds the sequel sweet and diverting, though its storytelling is less successful than its packaging. He praises Olaf’s comic performance and the film’s congenial returning characters.

Debruge finds the sequel inventive and thoughtful, though its opening and songs sometimes feel calculated or weaker than the original. He praises its modernized values and lovely visuals, especially its supportive portrayal of Anna and Kristoff’s relationship.

The headline frames the sequel as a substantial continuation of the original, but the full review verdict is unavailable. No specific praise or criticism can be verified from the accessible page.

The page is blocked by a browser check, so no critical verdict is available. It provides no praise or complaint that can be reliably summarized.

The page identifies this as a review, but its verdict is unavailable. Its specific praise or criticism cannot be determined from the accessible text.

Matheou finds the sequel delightful and accomplished but less effective than the original. He praises its spectacular animation while faulting the story’s lack of tension and songs that fail to produce a standout hit.

The critic finds the sequel entertaining and polished, but less satisfying and essential than the original. The songs and autumnal visuals stand out, while the story’s weaker emotional arc and mythology disappoint.

Brown finds the sequel’s story and representational politics confused, with its stakes obscured by its corporate-minded approach. The review praises the sisters’ relationship and Olaf’s existential subplot as hints of life beneath the film’s commercial surface.

The critic finds the sequel predictable and overly cautious, despite its entertaining elements. He praises the catchy songs and Elsa’s compelling quest of self-discovery.

Jenkins finds the sequel directionless and lacking in ideas, emotion and drama. He singles out the comedy snowman as making it just about bearable, while criticizing the songs for lacking hooks and heart.

Stables finds the sequel visually ravishing but weighed down by overcomplicated plotting and a loss of the original’s emotional spark. She praises Olaf’s comic performance and the spectacle of Elsa’s sea battle, while faulting the film’s thin characters and generic storytelling.

Willmore finds the sequel more calculating product than compelling film, despite its ambitious themes. She praises the striking sea sequence where Elsa battles and rides the magical water horse.

The critic finds the sequel genuinely engaging and funny, despite a plot that can feel like a slog. They single out the central performances and the new songs for praise.

The critic calls it an extremely satisfying sequel that comes very close to the original. They praise its songs and humor, while noting that the final third feels predictable and lacks the first film’s surprise.

The critic calls it a good, more coherent sequel with a stronger emotional heart, though its story and Olaf’s extended comic scenes have flaws. The gorgeous animation, especially a visually striking journey of self-discovery, is its greatest achievement.

Goldberg finds the sequel entertaining but lacking the original’s lasting magic, with a story that feels unfinished and plays it safe. He praises the endearing characters and gorgeous visuals, while criticizing the film’s evasive resolution of its questions about past wrongs.

Crow finds the sequel visually sumptuous and emotionally effective when it focuses on the sisters, but says it lacks the original’s magic. He praises the animation while faulting the songs and narrative for falling short of the first film.

Crump finds the film’s serious themes promising but says its softened handling undercuts their emotional impact. He praises its scenic beauty, while noting the animation could have shown greater imagination.

The critic finds the sequel entertaining but ultimately unnecessary, with its effort to recreate the original’s success weighing it down. They praise its autumnal animation and the potential of its story about confronting historical wrongs.

The review finds the sequel entertaining but ultimately too safe, with an ending that softens the consequences of its emotional stakes. It praises the infectious songs and dazzling animation, while noting that some comedic moments disrupt the tone.