| Buena Vista Pictures | Release Date: December 10, 1993 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
5
Mixed:
8
Negative:
10
|
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Critic Reviews
In Sister Act 2, these energized musical numbers and the sparkling comedy work together in ways that are very hard to resist. And considering how terribly resistible (to me, at least) last year's Sister Act was, the sequel seems like a movie miracle. [10 Dec 1993]
Sister Act 2 doesn't challenge Goldberg, but it's a marvelous showcase, nonetheless, for one of the screen's most likable personalities. [10 Dec 1993, p.C1]
Despite the premise's admittedly thin motivational set-up, "Act 2" skits along on exuberant charm and zippity humor. [10 Dec 1993]
More than any of the sappy writing ever does, their collective presence reminds us that any church is about community. The film is tired and trite, but they're terrific, every last one of them. [10 Dec 1993, p.53]
Sister Act 2's other saving grace comes from its positive messages of hard work and responsibility, and a thoughtful, though underwritten, subplot about a talented student (Lauryn Hill) and her strict mother (Sheryl Lee Ralph). [10 Dec 1993, p.7]
Pathetically uninspired. [10 Dec 1993, p.G3]
Whoopi (a beleaguered figure these days) single-handedly cranks up the
volume now and again, earning a chuckle or two, but then settles lazily
back, apparently content to bank on the formula and imagine the box-
office. [10 Dec 1993]
It's like a class reunion in purgatory. All the familiar faces are there, but the air is sulfurous and murky, and hell is just an elevator ride away. [10 Dec 1993, p.A2]
It is shockingly devoid of any shred of originality and imagination. [10 Dec 1993]
Certainly movies are a business, but it's only good form for them to at least pretend that they have some reasons for existence other than the purely mercenary. The goal of entertainment has been forgotten here in the mad dash for formulaic guarantees. These comedy nun pushers have forgotten that there's no bottom line at heaven's gate.
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The talented director Bill Duke (A Rage in Harlem, Deep Cover), who brought distinction even to The Cemetery Club, his previous outing, goes to sleep here, and it's hard to blame him; why stay awake for insulting hackwork like this? James Orr and Jim Cruickshank wrote this malarkey.
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