Trolls World Tour (2020)
Directed by Walt Dohrn
Queen Poppy and Branch make a surprising discovery — there are other Troll worlds beyond their own, and their distinct differences create big clashes between these various tribes. When a mysterious threat puts all of the Trolls across the land in danger, Poppy, Branch, and their band of friends must embark on an epic quest to create harmony among the feuding Trolls to unite them against certain doom.
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5 films that influenced Trolls World Tour
What critics say influenced Trolls World Tour
Even with so many scribes, “Trolls World Tour” borrows its main storyline from “Avengers: Infinity War” (2018).
That’s right, Trolls World Tour is an anti-rockist variation on Avengers: Infinity War , only now Thanos has a guitar and is waging a jihad against synthesizers.
It’s something akin to a barmy hybrid of Avengers: Infinity War and Bill & Ted, as mad as that might sound.
Bigger than the first sound film, The Jazz Singer, in 1927.
These ventures are rarely more than a gimmicky ploy with a thinly conceived story, filled to the brim with tired pop culture references and cheap jokes, the obvious exception to this rule being 2013's The LEGO Movie .
Trolls, which arrived in 2016, piggybacked on the popularity of The LEGO Movie three years earlier—it was an animated film, featuring brightly colored images and the voice talents of popular performers, led by Justin Timberlake and Anna Kendrick.
Also, Queen Barb rolls, flies and swims in an intimating black caravan straight from “Mad Max: Fury Road” (2015), and the Rock Kingdom resides at a volcano reminiscent of Mordor from “The Lord of the Rings” trilogy.
In any case, now the Hard Rock Troll Queen, Queen Barb (Rachel Bloom), is on this Mad Max: Fury Road -like crusade to steal all the strings for herself and force “one nation of Trolls, under rock.”
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Barb in particular — her facial expressions and movements — reminded me, by turns, of Vanellope in Wreck-It-Ralph and Disgust in Inside Out.
The first Trolls was a noxious inverse of Inside Out, in which a perpetually happy character and a perpetually sad character are paired with each other, and in the end, the sad character learns that they should be a little happier than they used to be.
Kendrick’s and Timberlake’s voices blend as nicely as before, and their emotional dynamic — Poppy’s relentless, oblivious good cheer versus Branch’s sadness and skepticism — may remind you a little of Pixar’s “Inside Out,” though no comparison could be less flattering to this movie.