Melody’s review published on Letterboxd :
"You're so dark! Are you sure you're not from the DC universe?"
OK I might be a little blinded here by the fact that someone involved here decided they wanted to use the song "Tomorrow" from Annie as a gag and then someone (maybe the same person) chose the Alicia Morton (the BEST Annie, '99 Disney Annie) version over the ones you'd think would be the go-to versions (I mean maybe it was a legal thing and that was just the cheapest, who knows, I'm just saying, thank you to whoever/whatever was responsible for this, my most pleasant cinema surprise of 2018 so far after the Hamilton reference at the end of Wrinkle in Time…)
Anyway, even before that point this had already proven itself to be a tonal catastrof**k of a magnitude eons greater than the first movie, which sounds like a bad thing but it's just so much more all over the place that it frequently borders on the majestic. Considering it's a movie that deals with two particularly hot buttons for me (the pre-credits death, which is hysterically dealt with by the credits themselves, and the even darker issue of institutional abuse) in such a frequently cheap and lowbrow way, I'm kind of amazed to find myself sitting here saying how much I loved it, which is why I feel I may have been blinded by the Annie thing. Structurally it's perhaps the closest there has ever been to a Family Guy movie… it is irreverence turned to eleven, which is the only volume worth doing irreverence at, but I didn't just laugh so hard I cried, I also genuinely just cried at one point or two. I'm saying I know there's a ton of stuff wrong with it… but god I really kind of loved it. And I can't believe so many people left before the mid-end-credits stuff - do not be that person on this one…