Zoiks, Matthew Lillard is one of those names that can sell a film, and when he’s back as William Afton, the main villain behind the Five Nights at Freddy’s franchise, I hoped for a deeper origin story. In that regard, Five Nights at Freddy’s 2 partially delivers, layering a soft reboot over the existing mythology.
This time, the focus shifts to the spirit of Charlotte (Audrey Lynn Marie), awakened years later. In-universe, the sequel takes place a year after the first film. In the flashback opening, she witnesses the franchise owner preparing to murder an innocent child. No one believes her pleas. When she becomes more than another victim, she locks herself into the same vicious cycle.
The animatronics aren’t just threats, they’re remnants in the truest sense. These ghosts are children trapped between worlds, literally inhabiting machines. Their horror comes from who they’re forced to target. They never asked to be controlled, and over time, their innocence erodes. They become killers.
Once the Withereds are introduced, confusion sets in. They are not the same robots from the first film. Here, they’re framed as “prototypes,” a choice many fans argue effectively deletes the emotional connection built with the original ghosts.
The film never fully explores this dream logic. With Afton gone, the animatronics are left to rust. Abby (Piper Rubio), one of three survivors from the first film, exists as a living link to the past, yet the screenplay discards key details to force this story into sequel shape. The idea that the adults keep her in the dark doesn’t hold.
It made me wonder what Scott Cawthon, creator of the IP and co-writer of this film series, had in mind once he was given greater control over the adaptation.
Exploring the Themes of Five Nights At Freddy’s 2
At its core, this sequel revolves around a little girl missing her robot friends, and that longing drives the misadventure. But why isn’t anyone traumatized? Mike (Josh Hutcherson) should carry scars. Vanessa (Elizabeth Lail) should be weighed down by what she knows and what she allowed. And why are these two suddenly dating?
The restaurant remains central, now treated as a paranormal tourist site as the town celebrates the urban legend it’s become. Investigators arrive looking for answers, but the revelations lack consequence.
The sequel doesn’t deepen the mythology so much as sidestep it. To compensate, the film leans into dreamlike horror, where nearly everyone forgets instead of pushing toward a final solution. That’s common in horror franchises, but you’d think someone might eventually break the loop.
I kept waiting for the film to say something new about its universe. Instead, it clings to familiar beats. There’s even a missed AI joke when the robots are said to be “reprogrammed.” These machines aren’t artificial. They’re possessed.
Only one presence can restrain the others. Charlotte, inhabiting the Marionette, wants revenge, but her purpose is diffuse. Unable to focus on a single target, she lashes out at everyone instead. Despite the disembodied motivations, the question of who controls whom remains unanswered. If another sequel arrives, I hope that thread finally gets resolved. Abby remembers, and her arc receives the flashback it deserves. The rest of the film does not.
The movie works best when it leans on Lillard’s presence. When it doesn’t, and when it’s unclear how the child who triggered the franchise’s collapse enacts revenge, it starts to feel like any other Blumhouse horror IP, teasing answers without delivering closure.
3 Stars out of 5
Five Nights At Freddy’s 2 Trailer
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