The Secret Life of Pets 2 (2019)

Howard finds the sequel stronger and more emotionally resonant than its predecessor, despite its unevenly connected storylines. She particularly praises its empathetic portrayal of overprotective parenting and the reassurance it offers parents.

Erbland finds the sequel charming and funny, but less delightful and less coherent than the original. She praises Lake Bell’s comic performance as Chloe and the film’s imaginative take on pets’ hidden lives.

Richards finds the sequel pleasantly entertaining, though its scattered stories feel less necessary and memorable than the original. He singles out its appealing, springy animation and says it works best when sweet and silly.

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Walsh finds the sequel entertaining but formulaic, delivering familiar pet antics without much beyond the original. She praises the humorous, affectionate depictions of animal quirks, while criticizing its handling of anxiety and its dated circus subplot.

Luxford finds the sequel entertaining, though it feels more like a series of skits than a flowing story. She praises its slapstick and knowing gags.

Hans finds the sequel charming but so-so, with laughs thinner than in the original. She praises Chloe’s lesson in disguise as the funniest sequence, while finding the white-tiger circus adventure too much of a stretch.

Hassenger finds the sequel disjointed and ultimately too slight to sustain its feature-length running time. He praises the goofy charm and expressive voice work in the Gidget and Snowball subplots.

Whitty finds the sequel uneven, balancing sweetness against overcrowding. He singles out how the tale wags the dog as a central complaint.

The critic finds the sequel genially amusing but undernourished, with familiar storytelling that offers little beyond the first film. Harrison Ford’s gruff farm dog steals the show, while the script and animation are faulted for playing it safe.

Spiegel finds the sequel slight, scattered, and largely inconsequential. He singles out its three disconnected storylines and shallow character work as weaknesses, while noting its short runtime as a saving grace.

The critic strongly condemns the film as a regressive, uninteresting movie. They single out its conservative ideas about family and its shaming of vulnerability as especially troubling.