Lucy desperately attempts to calibrate Emmet's persona to something more appropriate to the ruined world they now live in, but he maintains the "everything is awesome" outlook that figures problematic in a much more adult environment. Elizabeth Banks also reprises her role as Lucy, the brawn and brains to Emmet's fumbling optimism. Chris Pratt returns to voice Emmet a happy-go-lucky construction worker who retains a life of cheer in the apocalyptic wasteland. The jig is already up from scene one of the sequel, because we are aware of the children's narrative dictatorship, so none of the LEGO characters' sentience ever feels authentic. Of course this conflict is merely implied before the lazy live action finale that resolves the paper thin dispute, and wholly lacks the gusto of the first movie's twist. Her entry-level LEGO creations clash with his more involved and complex structures, and the result is a sibling pair never learning to play in symbiosis. Through some less-than-subtle live action mirage shots early in the film, its apparent that Finn (Jadon Sand) the boy mastermind in the first film is being plagued by his younger sister Bianca (Brooklynn Prince).
The brick civilization reverts to a Mad Max world after the invincible fat-bricked organisms regularly search and destroy anything colorful or shiny. The world of Brickville goes through sufficient changes almost immediately once toddler-sized LEGO creations attack with unrivaled fury. These are all elements revisited the second time around, but the trick has already been explained by the magician. Not to mention the brilliant reveal of a child's imagination directing the entire story. The magic present in The LEGO Movie resides in the playful allegory of capitalism mixed with the earned nostalgia of the animation's medium. This sequel comes off as a afterthought worthy to stand beside the other spinoff LEGO films, but lacks all of the magic of its predecessor. The new director Mike Mitchell is planted into a zero sum game as he tries to reignite the novelty of the first film while propelling a more mature plot that Miller and Lord insisted on being needlessly convoluted.
The subtitle The Second Part is surely a half truth considering how this narrative slapped together by the original writers Christopher Miller and Phil Lord seems tacked on in a "Oh let's take a victory lap then" sense.
Five years removed from the infectious first installment, comes a serviceable extension of a story that already had a proper ending.
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