Film Name: 开心超人2：启源星之战 / Happy Heroes 2：The War of Qiyuan Planet
Earlier, a spokesperson from the Ministry of Railways famously said: “I don’t know if you believe it, but I sure do.” Watching the bloodthirsty Happy Hero during the film’s climax, I too want to say: “I don’t know if you’re shocked, but I sure am.” Can a Happy Hero who solves violence with violence truly bring us happiness?
Compared to last year’s “Happy Heroes 1,” this film’s plot has taken a nosedive across the board. Gone is the humorous affection between Lightbulb Father and Son; instead, Lightbulb has become a pointlessly cameo-hosting figure. Gone is the awakening of Little Heart Superhero in the face of friendship through adversity; aside from Happy, the other superheroes are practically just window dressing in this film. Most crucially, the ultimate villain’s motivation—once rooted in childhood trauma—has been reduced to pure malevolence. Happy Hero’s battle against him devolves into an 80s He-Man-style clash between good and evil.
The entire plot is fragmented by so-called “comedic” moments. Take the “Superhero Writer” character—why even include someone completely irrelevant to the main plot? Was it just for a cheap laugh?
Conversely, crucial logical connections are glossed over. How did Sand Monster suddenly appear on Planet Star? How did Dr. Homebody repair his plane to reach Origin Planet? How did the square-shaped Superheroes on Origin Planet assemble into warrior forms?
The film rushes to introduce new superhero subplots—like the Flame Superhero and others. While seemingly novel, these additions barely enhance the story. Instead, they unnecessarily complicate the protagonist system, making it hard to follow. Ultimately, the five main heroes fade into the background, and the new characters remain flat. Honestly, wouldn’t the plot have worked just as well without these new additions? After all, the five original stones should have centered around the five main heroes.
The film’s opening meticulously establishes its world-building, though somewhat convoluted, we grasp the core premise: the five gems represent five noble virtues. Yet the narrative I anticipated—the loss and rediscovery of these virtues, how they manifest in the five protagonists, and the inspirational journey—is entirely absent. The film reduces a profound exploration of these five virtues to mere spectacle through scenes of the five superheroes having their energy drained. In that “grand moment,” their significance pales in comparison to the Grand Monster General’s noble sacrifice!
It must be acknowledged that Big Monster and Little Monster remain the most vibrant elements in this film. They replace Pretty Girl Superhero and Lightning Superhero respectively, with frequent instances of Big Monster being struck by Little Monster’s lightning. This subtly hints at the ambiguous relationship between Lightning Superhero and Pretty Girl Superhero. Their bond is defined by connection, “chemistry,” and emotion, culminating in a conclusion that’s both comical and humorous—truly outstanding supporting characters. Yet it’s regrettable that they don’t represent the film’s main narrative, nor could they ever. It’s like how a squirrel could never be the protagonist of Ice Age.
In my view, the destruction of Zhang Lang’s planet is far more brutal than Zhang Lang himself being defeated. When the BOSS fired a laser cannon at Zhang Lang’s home planet, it felt like someone using a surface-to-air missile to shoot down Flight MH17. The film offered no resolution for these innocent victims—a profound disrespect for their lives. But what astonished me even more was that Happy Superhero’s ultimate motivation stemmed from witnessing Zhang Lang’s defeat. This couldn’t help but evoke a sense of prioritizing beauty over empire.
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