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Gremlins 2: The New Batch

Gremlins 2: The New Batch

Comedy · Horror · Fantasy · 1990

Young sweethearts Billy and Kate move to the Big Apple, land jobs in a high-tech office park and soon reunite with the friendly and lovable Gizmo. But a series of accidents creates a whole new generation of Gremlins. The situation worsens when the devilish green creatures invade a top-secret laboratory and develop genetically altered powers, making them even harder to destroy!

Movie details

Gremlins 2: The New Batch

“Here they grow again.”

1990 Comedy · Horror · Fantasy 1h 46m

Critical arithmetic

One number, for now.

TMDB

6.5 / 10

Community rating

Young sweethearts Billy and Kate move to the Big Apple, land jobs in a high-tech office park and soon reunite with the friendly and lovable Gizmo. But a series of accidents creates a whole new generation of Gremlins. The situation worsens when the devilish green creatures invade a top-secret laboratory and develop genetically altered powers, making them even harder to destroy!

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Gremlins 2: The New Batch?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Where it lives

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Names above the title

The people responsible.

Directed by

Joe Dante

Written by

Charles S. Haas

Zach Galligan

Zach Galligan

Billy Peltzer

Phoebe Cates

Phoebe Cates

Kate Beringer

John Glover

John Glover

Daniel Clamp

Robert Prosky

Robert Prosky

Grandpa Fred

Robert Picardo

Robert Picardo

Forster

Christopher Lee

Christopher Lee

Doctor Catheter

Haviland Morris

Haviland Morris

Marla Bloodstone

Court is in session

Put Gremlins 2: The New Batch on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Arthouse Gremlin

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Prestige Tourist

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.