Exploring the characters 20 years on is a cool conceit but the film tries too hard to recapture the tone of the first film and the plot is too contrived to ever get the film into high gear. Bremner's performance was the highlight for me, striking just the right note of silliness and pathos.
Normally, a sequel paying homage to itself should be considered a piece of lazy writing that capitalizes on aging viewers' nostalgia while adding little meaningful content. However, the sheer genius of what makes T2 great is the precise way in which it serves as the perfect metaphor for what life feels like looking 20 years over your youth. Compare it to the original and you fail to see the real value it brings.
In a way, it's a crying shame this movie had to have a plot. The first 30 minutes are such a sensitive, character-driven look at time gone by—particularly considering how the original was always such a youth movie—that when the plot contorts itself to throw its anti-heroes back into hijinks, it becomes a mess of awkward tones. When it starts playing the hits, it feels cheap. When it goes for guffaws, it's even worse.
This was the best imaginable way to continue the first part. The look into the future of these boys becomes so familiar, it even makes us viewers remember some things we used to do and how the world was we saw while we were a little younger. The interpretation of Ewan was superbly beautiful, as in the first movie. The evolution and deepness of character's personalities was on point. A movie so pleaseantly beautiful.
Relies hard on the familiar, warm feeling you have for each character and fucking works better than expected. Moreover beautifully, technically, incredibly shot with different graphic inventions you don't see in typical blockbusters. I suppose that going back on the crime scene after 20 years could not have been done better. Chapeau.
Though it's got enough of the verve and wit of the first film to make it watchable (the scene in the Orange Club is particularly hilarious), there's far too much here that's a pretext for a reunion. A very ropey script and there is a lot of straining after unearned emotional pay-offs. Depressing recourse to stereotype by casting an Eastern European woman and making her a prostitute.
Uma viagem à terra da nostalgia, tudo aqui é pretexto para relembrar, para resgatar memórias. A tentação foi mais forte e Boyle parece voltar apenas para seu próprio prazer. Não há história, é Trainspotting no estilo, mas sem conteúdo. As luzes inconstantes e os artifícios visuais são giros, mas isso é mais do mesmo.