A Lot or a Little?
What you will—and won't—find in this movie.
Humans are evil and monsters may not be all that much worse.
Positive Role Models
A shy man finds fulfillment as a monster.
All-White Polish cast. A woman is called a cobra in a skirt. A police officer inappropriately and creepily tells his superior officer that she "looks pretty" while they are on duty. A shy and fearful man is called a "p---y," and only when he turns truly nasty does he find love. Two extremely large monsters of the last film are frequently, casually, referred to as "fat" and "fatties." A woman snaps at traumatized men for "crying like a woman." A man and woman argue, using stereotype insults. The man calls the woman a "whore," and she shoots back, "At least I don't have AIDS," seemingly calling the man gay, as if it were an insult. A man is accused of having swastika on his chest.
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Violence & Scariness
This is extremely violent. Two monsters talk about ripping someone's head off, claiming the victim is evil. In a dream, a man wearing a New York City police uniform shotguns the heads off of superhumans attacking him, then rescues a bleeding girl held captive. A man kicks a dog. Later, two monsters spare a dog's life. A police officer is snapped in half. We see his entrails on the floor. A cop chops off his own hands by sticking them into the bear trap he just set. A creature punches through a victim's chest and pulls out guts. Bodies are found in an ambulance that is sprayed with blood. An explosion ignites a building and presumably everyone in it. A large syringe is injected into a skull. A man is pushed into an electrical box, squished and electrocuted.
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Sex, Romance & Nudity
A monster produces a huge, snake-like tongue that penetrates the mouth of a victim in a sexual manner, and lickety-split turns him into a kindred, boil-covered monster. Later the two monsters have monster sex (actors in rubber suits).
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"F--k," "s--t," "ass," "bitch," "p---y," "pr--k," "d--k," "bastard," and "hell."
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Parents Need to Know
Parents need to know that Nobody Sleeps in the Woods Tonight 2 is the 2021 sequel to the popular Netflix 2020 horror film with a similar title. In Polish with English subtitles, the film offers a cheeky meta-view of horror movie clichés while also showcasing them all. Skulls are crushed, bodies are eviscerated, run over, exploded, knifed through the eye, and torn in half. A face is ripped off while the victim screams. Two boil-covered monsters have nude monster sex (actors in ghastly rubber suits) and language includes ample use of "f--k," "s--t," "ass," "bitch," "p---y," "pr-- k," "d--k," "whore," "bastard," and "hell." Two extremely large monsters of the last film are referred to as "fat" and "fatties." A woman snaps at traumatized men for "crying like a woman." A man and woman argue, using stereotype insults. The man calls the woman a "whore," and she shoots back, "At least I don't have AIDS," seemingly calling the man gay, as if it were an insult. A man is accused of having swastika on his chest. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails.
Is It Any Good?
This is a sloppy sequel; it feels as if the filmmakers were rushing this for release within a year of the first film's success. Inconsistencies abound. The old monsters ate their victims and were uncontainable. They rose from the dead. Yet we see the once-deceased monsters jailed, meek and docile. The new monsters, just as pustulous, grotesque, and snarling, seem to also possess superhuman strength, yet one turns out to be quite gorily mortal. The new ones don't eat their victims (perhaps they've adopted a low animal protein diet).
The themes of the first film weakly repeat here. Under the influence of the internet and screen time, we've lost our empathy and humanity -- resulting in monsters? Moments before the internet-free camp director's nasty murder, he rails about the evils of the internet and society to his silent wife, who surely must have already heard this long list of grievances a thousand times before. Like the first film, this one also mocks the conventions of the horror genre. Characters routinely disregard their peril, playing into the hands of their killers. One newbie miscreant sounds like a horror movie director. For him killing isn't enough. He wants to "build up some suspense" to scare victims before going in for the kill, an artist at heart. The monsters also discuss the relative nature of evil here ("Now we're the bad guys") that is amusing on its own but, inserted into the gory momentum, brings the action to a dead halt. With empathy for fellow artist-monsters, the director starts telling the story from the perspective of the monsters, a narrative trick played long ago in the Frankenstein story. In any case, those watching for the horror probably want their guts served up on a plate and really don't care much about monster character development. Whether it's a joke or an inadvertent commentary on growing violence, it's worth noting that a shy guy doesn't feel at home in the world until he becomes a hideous, murderous enemy of the people. After the credits roll, 90 seconds of narrative pop up, laying the groundwork for NSITWT 3. Be afraid.
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