If the script is not the main weapon, the direction pays off (in part), with a breakneck pace that turns the feature films into quality passenger entertainment. And that is what the second part of the panda bear saga is: above all a pleasant pastime. Giving little space for the spectator to breathe, the animation is sustained by excellent action scenes (which are beautiful in the face of live-action works of the genre), without forgetting to include hints of charisma in its protagonist, a characteristic that stands out thanks to the mild but sympathetic drama displayed.

Screenwriters Jonathan Aibel and Glenn Berger from the original film return to write the fun story of the new film. They follow the narrative line adopted by many screenwriters who write the continuation of their creation. Usually the first film has less action, but with the presentation and development of its characters. In this case, the opposite happens. Lots of action, deepening in the protagonist, in the supporting and in the new antagonist and introduction of new characters. Fortunately, the film's writers managed to escape a disaster by the very simple, yet very captivating narrative. Extremely agitated with numerous action scenes that excite the viewer, but also has satisfactory developments in some characters. Po is the most developed during the film. With their narrative arc, the writers elaborate the famous "teardrop blow" - it is necessary to have a heart of stone not to be moved by the tragic origin of the panda or the fantastic relationship with his adopted father, Mr. Ping.

In addition, the suggestion they send to viewers is quite significant. They address the current extinction of pandas and adoption in a very succinct way, which is often seen as a frightening act by many people. The script also has opportunities to mature the essence of the protagonist, but at the time H uses a slapstick joke, returning the immature clown look to Po, which is very disappointing for the viewer eager for unprecedented, not renewed attitudes. Other than that, the narrative body is very similar to that of the previous film in which Po's objective was to be accepted into society, to awaken the spirit of the Warrior Dragon and stop Tai Lung. In this film, he has the mission of discovering his origins, finding the desired Inner Peace and defeating Shen. But he is not fooled by the recycled structure of the narrative. Despite this, it has completely unique and original moments.

Kung Fu Panda 2" is not an animation that aims to surprise you from a narrative point of view. But it is by accepting its limitation that the film becomes quite efficient, proving that the formulas, when worked well, still work. Aibel and Berger deliver a correct script, without big holes, betting on justified and meticulously measured action, never tiring the public's eyes, balancing each of the action scenes (and how beautiful the choreographies of the animals fighting!) With good pinches of physical and also verbal humor, which will make children (and adults) laugh in the rooms. But the film is not only about struggles and fights. There is also a dramatic arc, a new ritual of passage for Po, who, after discovering his inner strength, now has to discover inner peace, as Master Shifu (Dustin Hoffman) teaches him.

The script is also clever when looking for a sensitivity in Po's life story that decelerates, even in moderation, the rhythm of the plot. The great flashbacks add an extra dose of drama and "cuteness" to the film, in addition to deepening the protagonist's beautiful relationship with his adoptive father. The option gives even more charisma to the panda bear, which continues with jokes and comical phrases at the end of the book.

The script is also clever when looking for a sensitivity in Po's life story that decelerates, even in moderation, the rhythm of the plot. The great flashbacks add an extra dose of drama and "cuteness" to the film, in addition to deepening the protagonist's beautiful relationship with his adoptive father. The option adds even more charisma to the panda bear, who continues with jokes and comical phrases on the tip of his tongue, as well as an incredible ability to destroy plans and pay for monkeys, even if some sound too childish. Much of the film's originality comes from the new characters. Lord Shen is the most unprepared antagonist I have ever seen. The peacock is hysterical, insecure, desperate and cowardly living on the verge of a nervous breakdown, many of which are caused by the hilarious Chief of the Wolves, the villain's ally. The other welcome addition is that of the Gypsy goat Falamacia - a vital character in the evolution of Po and Shen's narrative. Even the brief Master Rhino manages to lift the public's spirits in his few minutes.

While Po is fully developed, his side-kicks are completely overlooked by the script. They are involved in the story to help the protagonist and serve as comic relief. With the exception of Tigress, the other four furious - Heron, Monkey, Mantis and Viper, are only allegorical. The film's comic content is extremely high - it is impossible to leave the session without having a good laugh. Loaded with irony and surprise elements, the jokes are clever and very well handled mainly for remembering that the film is actually a fable. In other words, the protagonists are talking animals and, with that, the script takes the opportunity to create jokes about the nature of the animals.

Some characteristics of the previous film return to the sequence, the main one being the conservation of the inhabitants of the Valley of Peace. It is a very discreet joke that few will notice, but the rabbits, ducks and pigs that give life to the city - are typical dishes of Chinese cuisine. - again, irony is present. The historical setting is also very interesting, enriching the plot. Gunpowder was created in China during the Han dynasty (206 BC to 220 AD). He also takes the opportunity to subtly quote Yin-Yang. Despite the many qualities, the script has extremely cliché elements. The greatest example of this is the history of the origin of Po. In addition to the clichés, he has the frightening predictability of his climax - with just eight minutes of projection he already knew how the film was going to end. This completely crumbles the charm and entertainment of the final act. There is a tremendous flaw in the middle of the projection that is frightening. In the meantime, heron visibly breaks its wing and asks for help from friends. In the next scene, he is already flying in full splendor. It is for these reasons and the disregard for the other characters that the film sins and declines its remarkable quality.

Director Jennifer Yuh (who replaces Mark Osborne and John Stevenson), in her first experience in the theatrical role, is given the main responsibility. And she fulfills her with immense talent. From the very first minutes we are already surprised with strings of struggle that squander creativity, which are not afraid to drink from the source of true oriental productions. To our happiness, they remain until the last minutes of projection, exploring the whole of Chinese territory, ranging from hectic pursuits to clashes full of explosions and mysticism.

As if that were not enough, Yuh still has an art department that is not only technologically well-endowed, but also visually committed and engaged, putting together scenes of great photographic beauty, which explore red in all its potential. The task will prove to be more difficult than anything they have ever faced, because at each meeting of Po with Lord Shen himself or his minions, he undergoes a blackout, which is closely linked to his past. The flashbacks that come out of these blackouts use a second animation technique, closer to traditional 2D, but still full of style and following the Asian aesthetic of an anime of economic movements.

All other scenes are made using the most advanced computer graphics available. And how well it works combined with stereoscopic 3D in action scenes. If there is a film that deserves an extra expense to be seen in 3D this year, it is certainly this Kung Fu Panda 2. All the sceneries of the Chinese plains that were already beautiful in the first feature were even more beautiful, the water (quite important in the third act) is incredibly realistic and the traces of the animals, although they remain the same, receive more details than the eye can capture. It is amazing how much technology has evolved in such a short time, just three years.

Finally, we must say that Kung Fu Panda 2 is a fun movie that deserves to be watched, especially by those who liked the first movie. If this is not your case, Kung Fu Panda 2 doesn't really have that many additions to make the series gain new fans. The search for origins can serve as a dramatic artifice, but as fun it works only as a cue for the third segment, an open conclusion that makes evident the need for a new continuation.