4 out of 5

Directed by: 26 effing people, so not listing them all here.

As the original ABCs seemed to drop around the same time as V/H/S and featured several Bloody-Disgusting regulars, it was hard not to lump the two films together.  Besides the obvious comparison – both being anthology flicks – the movies seemed to share an unfortunate mixed vibe of misogyny,  mean-spiritedness, and one-upmanship.  Variations of these ‘qualities’ could be argued to be part of the genre, but it often felt like we were getting shorts from people making this argument without really having a sense of what they were arguing about.  Extrapolated over two hours and 26 shorts, and very often ABCs 1 was just disappointing, occasionally annoying, and very, very rarely notable.  It becomes hard to appreciate highlights in a flick when it’s buffered by hours of so-so.  Some years have passed.  ABCs 2 isn’t being hyped in the same paragraph as the new V/H/S atrocity, and those BD faves are not, this time, in the list of directors.  So the film is no longer bundled with the association.  And the opening announcement – 26 shorts by various directors, no limitations – fades, and gives way to an excellent title sequence.  We can’t judge a film by these covers, but it’s an impressive start.  The first entry from the original – ‘A for Apocalypse’ by Nacho Vigalondo – was uneven, and hinted at the overkill to come.  The first entry in part 2, by E.L. Katz, is amazing.  Stunningly shot, excellent editing and score, creatively pieced together, and an indirect ‘death’ theme vs. the bludgeoning attempt by Vigalondo.  While ABCoD2 isn’t necessarily one slam dunk after another, I never experienced the drag or eye-rolling I did with the first movie; you say “What next?” with eager anticipation, and not time-checking dread.  The average entry is good; there are several that qualify as great.  There are a couple that are amazing.  Even those that are off – maybe J, L, P – feel like passionate misfires, and not just lazy attempts to toss blood at the screen.  Passion is a good descriptor for the film overall.  It really felt like the producers had a better grasp on what they wanted to accomplish here, and were somehow able to communicate that and then contain it in the final product while still allowing the filmmakers free reign.  Because part of the fun is in seeing each bit reveal itself and then land on the title card, saying too much about any piece is truly to ruin it.  But if you were hesitant based on the first film, just give the first few letters of this followup a chance to prove that the concept has – and can fulfill – its potential.