Reviews provided by RottenTomatoes
Detroit Free Press:
The sequel to the 2001 computer-animated hit is just as fast, funny and smart as fans were hoping it would be.
Somebody warn Ellen Degeneres that her brief reign as best supporting cartoon voice is now in jeopardy.
Los Angeles Times:
Can an ogre live happily ever after? Can fairy tale characters be content with their fairy tale lives? Can an Oscar-winning animated success generate a successful sequel? To all these questions, Shrek 2 is happy to answer yes, yes and yes.
Gags that feel tired, too many musical interludes, a story that doesn't really progress from the first film -- Shrek 2 feels a day late and an enchanted princess short.
New York Post:
So gorgeously animated and so thoroughly entertaining for all ages that only an ogre would complain it's not quite as fresh as the original.
J. R. Jones,
Like the first movie this is unassailable family entertainment, with a gentle fairy tale for kids and a raft of mildly satirical pop-culture references for parents.
Wall Street Journal:
This second edition of DreamWorks's Oscar-winning ogre opus may not match the original for, well, originality, but it honors the prime injunction governing sequels: To thine own characters be true.
It may not be great art, but it's funny stuff for all ages -- and that's a rare treat.
Ebert & Roeper:
Like Toy Story 2 and the Lord of the Rings sequels, Shrek 2 is that rare adventure follow-up that doesn't let you down.
The lovable characters remain, but they never do much of interest in a sequel that's safely above average but superfluous.
A frenetic and very enjoyable 93 minutes at the movies for child and parent alike.
Paul Clinton (CNN.com),
Shrek 2 is a Hollywood rarity: a sequel every bit as good -- if not better -- than the original.
Shrek 2 proves that winning writing trumps scenery chewing any day.
It's not quite as emotionally rounded as Shrek was, but it's got heart and delirium in equal doses, as well as a firecracker rhythm all its own.
One of the funniest movies I've seen in years. But I'm far from sure that it's a kids' movie anymore.
Not quite as sparkling as the first, but it gets nuttier as it goes along.
The movie is obvious, but consistently entertaining and animated in DreamWorks's "realistic" digitized style.
The sequel doesn't feel like recycled pixie dust thanks to lovably loony new characters and a story crammed with enough pop-culture references to make Quentin Tarantino cry uncle.
New York Times:
Slick and playful entertainment that remains carefully inoffensive beneath its veneer of bad manners.
A respectable effort and a solid example of family-friendly entertainment.
Shrek 2 brims with perverse pleasures that show no respect for the rules of kiddie-cartoon form.
Is it going too far out on a beanstalk to say that Shrek 2 is one of the most mature movies about adult relationships ever made?
San Francisco Chronicle:
The animation is still startlingly good and that, as well as the occasional bursts of wit, keeps Shrek 2 afloat.
Should ideally be seen twice -- once with kids, once savored at something like a midnight show.
Minneapolis Star Tribune:
This sequel is above average in terms of energy, cleverness and production values. But the original computer-animated blockbuster was so far off the scale that it's hardly fair to expect this one to measure up.
Globe and Mail:
The Shrek franchise is alive and well -- Model 2 is zippier, sleeker, with ever-improving graphics, vast commercial potential and the same sly ability to reach out and hook the whole family.
For many people, especially adults, Shrek 2 will be judged the superior of the two pictures.
This wonderfully animated movie is a little more softly pitched than its predecessor, but it still has plenty of rollicking spin on the ball.
The animation's slick in a cautious, cute, conventional kind of way, and some scenes are really very funny.
The appeal of the characters and the abundance of cleverness in the telling will keep viewers grinning, if not always laughing, through most of the picture.
Pretensions toward cohesion and character empathy are scuttled in favor of broad-barn gaggery.
A piecemeal plot that seems to go nowhere and be about nothing and wind up no place, somewhat effectively camouflaged by a number of intriguing but incidental bits.