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Pixar’s follow-up finds its reason for existing not in adding emotions to the board, but in shifting the conflict from managing what Riley feels to the fragility of how she begins to think about herself. It is a brisker and less revelatory sequel than the first, but one with a recognizable dramatic necessity.
The four films in the Warner-produced collection released between 2014 and 2019 do not use LEGO merely as a recognizable surface. They turn the connection, limit and scale of the pieces into a visual grammar: each world decides what can move, what can break and what kind of camera seems capable of looking at it.
