RISE OF THE SLUGS

Can underachiever Doug Underbelly save his school’s Springtime in Paris dance from a thorough sliming by giant slugs? Should he?

Reflecting with superfluous (nigh on monotonous) regularity that his life is weird, Doug not only finds himself still stuck being King of the Mole People (2019) who dwell beneath the spooky old house he shares with his single dad, but somehow put in charge of the dance committee along with drooly, burned-out teacher Miss Chips. The latter gig rapidly devolves into a slippery slope—both literally, after an army of subterranean Slug People in search of eggs stolen by a pretentious STEM-winding bully convert the school’s gymnasium to a “gym-nausium,” and figuratively, as Doug winds up at the end in a slow dance with “licorice-haired, ping-pong–eyed” sidekick Magda. Fortunately, Doug can enlist not only eager Mole People, but slime- (and ice cream–) eating Mushroom Folk to help with a rapid cleanup. Along with plenty of muck and ooey-gooey characters with monikers like “Hurrk” and “Burf” (“Your names all really do sound like bodily function sounds,” comments Doug with characteristic lack of forethought), Gilligan plugs in plenty of Wimpy Kid–style ink-and-fill drawings with punchlines and wordless reaction shots. The human figures are all paper white in the illustrations and, from clueless adults to cliquey students, typecast.

Labored but successful effort to echo the opener’s low-bar appeal.