The Kissing Booth 2 wants to be a bigger, louder version of its predecessor, and mostly succeeds. The film follows Elle Evans and Noah Weber as they navigate senior year, a new baby, and a rival who wants everything they have. It is a sequel that understands its audience well, even when it doesn’t understand its own characters.
Elle and Noah are still the heart of the story. Elle is carrying their baby, and she is determined to make senior year count before the baby arrives. Noah is dealing with his own family problems, and the film spends time showing the strain that comes with being a young father.
The chemistry between Jacob Tremblay and Maisie Williams remains the strongest element of the film. Their scenes together feel natural, and the tension between them — whether it’s about the baby, their parents, or their future — lands because the actors sell it.
The baby is a central plot device, but the film treats it more as a complication than a character. Elle’s pregnancy changes her life, and the film shows some of that change, but it also uses the baby as a way to keep Elle and Noah together. That’s a thin reason to keep a couple together.
Then there is the rival, who wants to be with Noah and tries to break Elle and Noah apart. This is the weakest thread in the film. The rival’s motivations are thin, and the conflict feels forced rather than earned.
The film has a few strong moments. The scenes of Elle and Noah trying to plan for the baby while also trying to enjoy their last months of high school are honest and funny. The film knows how to balance the weight of the situation with lighter, sweeter moments.
But the weaknesses are just as visible. The rival subplot drags the middle of the film down. The pacing suffers because of it. Some scenes feel padded, repeating points the film already made.
Here’s a quick look at how the two main threads stack up:
| Thread | Strengths | Weaknesses |
|---|---|---|
| Elle and Noah’s relationship | Natural chemistry, honest stakes | Pregnancy used as a complication rather than a character |
| The rival | None | Forced conflict, thin motivation |
The film has a dedicated following, and that following can be explained easily. The Kissing Booth 2 delivers exactly what fans of the first film wanted: more of the same. The humor is familiar, the stakes are larger, and the ending is designed to satisfy anyone who enjoyed the original.
It’s not a great film, but it’s a good one for its target audience. Anyone looking for a deeper exploration of Elle and Noah’s relationship, or a more mature handling of the baby, will leave disappointed. Anyone looking for a fun, predictable watch will find one.
The film also benefits from a clear identity. It knows what kind of movie it is, and it stays within those bounds. That consistency is a strength, even if the territory is small.
The film’s biggest problem is its refusal to grow. The Kissing Booth 2 repeats patterns from the first film without changing them. Elle and Noah face similar obstacles, and they resolve them in similar ways. There’s no real evolution in the characters, which means the film feels like a repeat rather than a continuation.
That lack of growth extends to the plot as well. The rival subplot is a simple case of a girl wanting a boy. It doesn’t add depth to Elle or Noah, and it doesn’t create a genuine threat to their relationship. It just fills time.
The film follows a familiar shape:
- Elle and Noah start senior year, with Elle pregnant and both facing family pressure.
- The rival enters, creating friction between Elle and Noah.
- The conflict builds, with Elle and Noah pulled in different directions.
- The climax resolves the rivalry and brings Elle and Noah back together.
- The film ends with a promise of what comes next.
That structure is easy to follow, but it’s also easy to guess. The film telegraphs its moves early and rarely surprises the viewer.
The Kissing Booth 2 is a solid but unambitious sequel. It knows what its audience wants and gives it to them. The performances are strong, particularly from Tremblay and Williams, and the film has enough charm to carry its weaker moments.
It’s not a great film, and it doesn’t pretend to be. It’s a comfortable, predictable watch that delivers on its promises without asking for much in return.
Trailer, via Netflix.
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