The greatest selling point of “Pitch Perfect 2” is that it doesn’t follow the lazy Hollywood formula for sequels, and the result is a comedy that, if not always better than the first, is certainly more uproarious.
There’s only so much you can do with a movie about a capella singing. A competition is a must, and “Pitch Perfect 2” has one, along with all the infectious toe-tapping musicality. But the feature directorial debut from Elizabeth Banks also has a different, more bonkers feel than its surprise-hit predecessor.
The basic outline may sound familiar, but the movie isn’t really propelled by the narrative. There are a lot of random detours inserted solely to provide laughs.
There’s the team-building nature retreat where bear traps provide slapstick comedy. And there’s the secret underground a capella competition, where David Cross very nearly runs away with the whole movie, playing a rich, eccentric music enthusiast who rides around on a scooter and pits the Bellas and Das Sound Machine against “the pride of Wisconsin,” Clay Matthews and the Green Bay Packers. The winner gets a $42,000 gift card to Dave and Busters.
And so on. The bizarre humor is much more in line with screenwriter Kay Cannon’s television work on “30 Rock” and “New Girl” than with her writing on the original “Pitch Perfect.”
The movie also has a more female-centric point of view, relegating most of the guys from the first go-round to bit parts, including former lead singer and romantic interest Jesse (Skylar Astin).
Meanwhile, new addition Hailee Steinfeld does solid work as Emily Junk, a clumsy legacy with a bright future in music. And considering all of the other characters are graduating, she may be the only one returning for the almost inevitable “Pitch Perfect 3.”
Normally the prospect of yet another sequel would be depressing. But after the delightfully oddball “Pitch Perfect 2,” the thought is kind of exciting: How much weirder could things at Barden University possibly get?
“Pitch Perfect 2”
3 stars. Rated PG-13: Contains innuendo and strong language. 115 minutes.
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