Troll 2

There is something strangely poetic about watching a franchise based on Norwegian folklore struggle to find its cinematic identity, and Roar Uthaug's Troll 2 becomes a fascinating case study in this regard. From the opening minutes, which begin with the thunderous awakening of a mega-troll sleeping deep within a government power plant, it's clear that this sequel is trying to be bigger, louder, funnier, and more spectacular than its predecessor. And yet, in an almost charming way, the film keeps coming back to its roots: the difficult coexistence between Norwegian myths and the modern world that desperately tries to rationalize them. The protagonist, Ine Marie Wilmann, returns to anchor the story once again with her blend of scientific curiosity and fragile emotional intuition, and her reunion with government advisor Kim Falck and military officer Mads Sjøgård Pettersen instantly evokes the disparate, outsider team dynamic that made the first film so successful. But when the new giant troll, dubbed “Megatroll” or Jotun, breaks free and begins ravaging the countryside toward Trondheim, the film reveals both its ambitions and its anxieties: it wants to elevate its mythology while indulging in spectacle, but it doesn't always manage to reconcile the two.

What is undeniably appealing is the way Troll 2 delves into the adventurous pursuit of mythology, echoing Indiana Jones and National Treasure, while Nora, played by Ine Marie Wilmann, deciphers ancient clues left by her late father about Saint Olaf's brutal crusades against the trolls. These detours through forgotten tombs and dusty manuscripts exude a wonderfully pulp-like energy, giving the impression that the film is genuinely interested in the violence behind the Christianization of Norway and the cultural erasure embedded in its national mythology. As Nora, Andreas, and Kris search centuries-old burial chambers for Olaf's relics, the film briefly touches on a subject richer than the typical kaiju chaos: the recognition that monsters are sometimes created by history rather than nature. Espen Aukan's screenplay never fully exploits this thematic potential, but it offers just enough texture to resonate with the creature's anger and tragedy. In these moments, the sequel feels like a powerful allegory disguised as a blockbuster, gently prompting the audience to reconsider who the real monsters of the legend truly were.

Yet for every moment of reflection, Troll 2 offers something joyously chaotic, and this tonal tug-of-war is both part of its charm and its failure. The scene in which the imposing mega-troll rips the roof off a ski resort nightclub, snacking on terrified partygoers like hors d'oeuvres under the disco lights, is the kind of bizarre and darkly comical scene that only a filmmaker as comfortable with tonal shifts as Roar Uthaug would dare to attempt. The humor, sometimes clever, sometimes overly cute, relies heavily on self-referential jokes and nods to monster movie clichés, which works until it doesn't. At times, the film's lightheartedness feels like a protective shield that prevents it from delving too deeply into its own mythology. This becomes particularly noticeable in the way it struggles to determine whether trolls are sympathetic, misunderstood creatures or existential threats that must be destroyed at all costs. Nora herself seems torn between compassion and necessity, a conflict that could have been rich in dramatic twists and turns, but is too often rushed through in order to move on to the next explosion, chase, or witty retort.

The return of the main cast remains one of the sequel's strengths. Ine Marie Wilmann brings emotional depth to Nora, particularly when she is confronted with the legacy of her father, whose fascination with trolls was once considered madness but now becomes the key to Norway's survival. Kim Falck continues to play the role of the group's naive conscience, a man caught between scientific idealism and governmental pragmatism, while Mads Sjøgård Pettersen infuses rough military bravado and unexpected warmth into scenes that might otherwise feel mechanical. New additions like Sara Khorami help diversify the ensemble, even if her character is frustratingly underused despite initial suggestions of promising development. One of the film's most delightful surprises, however, is the unexpected tenderness that emerges from Nora's interactions with a young troll she nicknames “Beautiful,” a fleeting moment of communication that evokes the reverential awe of Arrival, even if the film quickly returns to holy water grenades and collapsing buildings.

Visually, Troll 2 suffers from the paradox of Netflix-scale spectacles: the special effects artists clearly put their heart and soul into rendering the moss-covered bodies and granite textures of the trolls, but the famous streaming glow—that flattened digital layer—robs many scenes of the natural beauty that characterized the first film. The mountains seem less imposing, the forests less alive, and the fog less tactile. The irony is almost painful: a story about ancient nature fighting back ends up looking strangely synthetic. The trolls remain impressive, powerful, and expressive creations in their stone rage, but the world around them lacks the visual weight and atmospheric mystery that should elevate monster movies to the realm of myth. One can't help but imagine how breathtaking these sequences could be projected on a giant screen, without compression or digital smoothing.

The sequel suffers structurally from its uneven pacing. The creature action, while superb when it's present, is strangely sparse for a film built on the promise of Nordic kaiju chaos. The escape from the power plant at the beginning of the film is thrilling, and the nighttime military confrontation using UV lights is truly exhilarating, but some expected highlights, such as the climactic confrontation between Jotun and the troll survivor from the first film, seem surprisingly brief and lack power. The emotional arcs, meanwhile, often seem diluted by the film's insistence on breaking the tension with lighthearted jokes or meta winks. At times, Roar Uthaug seems torn between making a respectful folk epic and creating a Spielberg-esque humorous family adventure, and this indecision diminishes the impact of both. Yet even when the film descends into predictability, there is an undeniable affection in the way Uthaug stages these sequences, convinced that Norwegian myths deserve a place on the world cinema stage.

The final act in Trondheim offers a glimpse of the grand, monstrous, and lyrical epic that the film could have been. Churches collapse, sirens wail across the river, and the two trolls finally face off under the shadow of a history that has sought to erase them. Thematically, this is the film's strongest part: a symbolic confrontation between the sins of the past, collective memory, and creatures forced into legend by violence. But narratively, the twists and turns come too quickly and too conveniently, with the characters moving from discovery to resolution without having time to assimilate the emotional and mythological significance of what they have learned. Nevertheless, the film ends with a knowing wink and a teaser in the middle of the credits announcing an even vaster mythology waiting to be awakened, proof that Uthaug and Aukan have not finished integrating Norway's ancient ghosts into the modern cinematic fabric.

Troll 2 is an enjoyable but uneven sequel, ambitious in spirit, chaotic in execution, and at times brilliant despite its tonal and structural inconsistencies. It lacks the novelty and atmospheric weight of the original, and doesn't fully embrace the wild grandeur suggested by its premise. But when its trolls sweep across the landscape or when Nora is torn between empathy and survival, the film draws on a typically Scandinavian mythological tradition that feels both fresh and affectionate. It may not justify its existence as powerfully as one might hope, but it certainly entertains and expands the foundations of the saga enough to make a third entry not only possible, but genuinely intriguing.

Troll 2
Directed by Roar Uthaug
Written by Espen Aukan
Produced by Espen Horn, Kristian Strand Sinkerud
Starring Ine Marie Wilmann, Kim S. Falck-Jørgensen, Mads Sjøgård Pettersen, Sara Khorami, Jon Ketil Johnsen, Gard B. Eidsvold, Aksel Almaas, Trond Magnum
Cinematography: Oskar Dahlsbakken
Edited by Christoffer Heie, Jens Peder Hertzberg
Music by Johannes Ringen
Production companies: Motion Blur
Distributed by Netflix
Release dates: December 1, 2025 (United States, France)
Running time: 105 minutes

Seen on December 1, 2025 on Netflix

Mulder's Mark: