Greg Tiernan and Conrad Vernon
English voices: Oscar Isaac, Charlize Theron, Chloe Grace Moretz, Snoop Dogg, Bette Midler. Norwegian voices: Matilda Griesberg, Jan Gunnar Rose, Katherine Bang Norum, Simin Sand, Jesper Leboranta, John Erling Waveling
First offer data:
October 29 2021
“The Adams Family 2”
«It is not enough to torture the fun variable.»
Father Gomez (voiced by Oscar Isaac, from “Dion” and the latest Star Wars trilogy) tries to get closer – a bit contrived – while taking the family on a road trip across the United States.
With the tattered car packed and ready to leave, Gomez and Morticia (Charlize Theron)’s lawyers contacted claiming that Wednesday was not from Adams’ biological family, but rather his client’s mutual children.
With this hanging thread, we go from a tourist attraction to a tourist attraction. The family, of course, chose the scenes based on their horrific preferences: Salem, the scene of the infamous witch trials, so Wednesday could finally see where girls her age were cremated at the stake. Niagara Falls accounts for many of the tourist deaths there. The Grand Canyon of Existential Void. and so on and so on.
Along the way, there are of course slapstick, complications, and dark humorous sadistic solutions to problems small and big.
Some are plump and cheap, but many also work better than you think.
The voice actors are on the brink (note: the movie is also available in the dubbed Norwegian version, but this review is based on the original), lines have been affected at times, and the black humor isn’t entirely toned down in the family safe splash pool for the movies.
A frequent joke is that Wednesday is trying to lure his silly brother Pugsley into the ovens and under the guillotine, strangle him with a pillow, or his cloves through his voodoo doll. Mostly because she is bored because only teens on a car trip with family can.
“It’s torture, not the fun kind,” Som Hon Sier.
Admittedly, most of these are quickly introduced and quickly forgotten, and the car journey is somewhat directionless until the film finally decides to tell the story it really wants (and should), about the origins of Wednesday and the identity crisis of dawn and adulthood.
By and large, the film attempts to ride two horses, each stretched on the other’s legs more than once.
The captivating family with its soaring aristocratic, zealous approach to the outside world presents a pleasing contrast to American plastic culture. And behind their pathological appearance, the family actually possesses a touching love and loyalty to each other. Unfortunately, the film never succeeded in maximizing its satirical or emotional potential.
Wednesday better be a spokeswoman for frustrated young people of all ages who keep the world’s pain at arm’s length through life-weary indifference, thousand-meter glances, and poisonous remarks delivered in a flat voice.
Or, as she says when she refused her father’s hug for the ninth time: “I’ve been socially distant since I was born.”
She deserved a better, more focused movie. As it stands now, there is not enough torment for the fun variant.