Dracula and his cohorts hotel monster still struggling to accept the differences of others in "Hotel Transylvania 2," a sequel with frantic eagerness that hews rapid-fire comedy formula of the franchise. In this story, constantly busy, the famous Count has agreed to the marriage of his daughter to a human being, but is faced with a new challenge of tolerance when his little son Dennis is slow to grow fangs. What follows is an avalanche of wacky hijinks dominated by groan worthy jokes targeted at young and old similar audiences, and Adam Sandler and overcooked scary accents of his castmates. Unlikely to win over anyone who wanted to set fire to its predecessor, this sequel more-of-the-same must nevertheless prove a pre-holiday welcome diversion for censor of fans of the first film, and at least the Sony impressive distance of $ 148 million surprise hit earlier.
After a brief intro races through vampire Mavis (Selena Gomez) and human doofus (Andy Samberg) the marriage of Johnny and child baby boy Dennis (Asher Blinkoff), returning himself followed the patterns of the director Genndy Tartakovsky in the weeks before the fifth anniversary of the Child, which serves as de facto break point for leeches to sprout their chompers. Imminent strikes approach this deadline fear in the heart of Dracula (Sandler), the capacity of the human stomach guests in his hotel found - and in the bed of his beloved daughter - are not so great that it is about to stand by and punishment of the death of his descendant.
Compounding his anxiety, Mavis, concerned that the hotel is more sinister a safe home for her child, plans to spend her brood in California. A trip by Mavis in Santa Cruz and Johnny to stay with his relatives square (Nick Offerman and Megan Mullally), which awkwardly trying to make their daughter-in-law at home by buying a giant hat and decoration of bed as a Halloween attraction, Dracula offers the opportunity to train in the ways of Dennis world of monster.
With clumsy Frankenstein (Kevin James), The Mummy (Keegan-Michael Key), the Wolfman (Steve Buscemi), and the Invisible Man (David Spade) in tow, Dracula works overtime to embrace his inner Dennis creature the night. The result is a series of bits as warm involving ancient rituals, visits to dark forests and dives off dangerously high towers which, like the rest of the procedure, all revolve around the fact that, for all the bluster of Dracula, Once he and his friends are now defanged scary ghosts kissed by a 21st century population less able to greet their appearance with cries that requests for selfies.
Although Dracula at one point reprimand a comrade saying, "We do not have time to zingers", "Hotel Transylvania 2" is flooded disposable one-liners, so that its plot appears as just a rickety skeleton designed to support Sandler and the litany of punchlines and gags cornball, only some of which cleverly play out of the iconography of the character of the company (including a GPS system Igor voice chastises wrong turns with "Fool!"). As it is customary to animation largest modern audience, adults are expected to be slightly amused by some jokes thrown their way from a fleeting image of Cesar Romero Joker from television "Batman," Johnny put a Dracula costume modeled on the upper shaped hair bulb Gary Oldman played in 1992 film by Francis Ford Coppola. Yet the tone of the action is minor, and the pace is so rampant, that these actions (and a late appearance by Mel Brooks as dad hurt Vlad Dracula) seem like insignificant concessions to large unhappy people responsible for supporting these procedures alongside their offspring.
In his portrait of two families struggling to accept a parent, even if it can not comply with their preconceived ideals, "Hotel Transylvania 2" functions on a number of social-allegory levels if a gay persecuted subtext becomes more evident at a high point in Mavis denouncing both Dracula and the use of the term "normal" as a way to define his son Johnny's parents. Any message on the need for openness in life and love, however, is confused by a botched field which ultimately less concerned to take a position in favor of the progressive values that this superficially in using these ideas Wellness for unimaginative, hyperactive teenager slapstick.
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