Alright fellow tape travelers, settle back into that comfy couch indentation you perfected years ago. Tonight, we’re pulling a slightly dusty, perhaps less-rewound cassette off the shelf: 1991’s Mannequin Two: On the Move. Yeah, you remember. Four years after the surprisingly charming original charmed audiences and made Kim Cattrall an unlikely inanimate object of affection, Hollywood decided lightning might strike twice. Did it? Well, let's just say the static on this particular viewing might not entirely be from the tracking adjustment.
### Once More, With Feeling... Sort Of
Instead of ancient Egypt, Mannequin Two whisks us away to the fictional European kingdom of Hauptmann-Koenig – because nothing says early 90s romantic fantasy like vaguely Germanic royalty. Here, a peasant girl named Jessie is cursed by an evil sorcerer (using a conspicuously plastic-looking enchanted necklace) to remain a wooden statue for 1000 years, only coming to life if she finds true love with a descendant of her original beau from the modern world. Flash forward a millennium, and that wooden peasant girl, now a decorative department store mannequin (because of course she is), ends up in Philadelphia. Specifically, she lands at the Prince & Company department store, the very same stage where Jonathan Switcher found his muse.
Enter Jason Williamson (William Ragsdale, familiar to creature feature fans from Fright Night Part 2), the new assistant to the now-promoted, flamboyantly fabulous window dresser, Hollywood Montrose. And yes, the absolute saving grace here is the return of Meshach Taylor as Hollywood. Honestly, his sheer commitment and charisma nearly power the movie single-handedly through its weaker moments. He’s got a bigger role, more fabulous outfits, and delivers every line with the infectious energy that made him a scene-stealer the first time around. Seeing him stride through Prince & Co. again feels like visiting an old, wonderfully eccentric friend.
### New Faces, Old Magic?
Taking over mannequin duties is Kristy Swanson, fresh off Flowers in the Attic (1987) and pre-Buffy the Vampire Slayer (the 1992 movie, that is). Swanson certainly has the requisite wide-eyed charm and fits the 'peasant girl turned mannequin' mold visually. She and Ragsdale have... well, they have a chemistry. It doesn’t quite capture the same spark Andrew McCarthy and Kim Cattrall shared, feeling a bit more like a standard-issue early 90s rom-com pairing. Ragsdale plays the earnest, slightly bewildered romantic lead well enough, tasked with falling for a woman who spends most business hours as elegantly carved wood.
The plot mechanics feel a bit more forced this time. The 1000-year curse, the descendant angle, the magical necklace McGuffin – it all lacks the simpler, slightly bizarre magic of the original's premise. We even get a villain, Count Gunther Spretzle, played with scenery-chewing glee by Terry Kiser (forever Bernie Lomax from Weekend at Bernie's). He wants the mannequin/Jessie for... reasons? Mostly nefarious, involving restoring his kingdom's glory or perhaps just acquiring a unique conversation piece for his castle. Kiser leans into the camp, which is probably the right call.
### That Early 90s Look and Feel
Let's talk direction. Stewart Raffill helmed this one. If that name sounds familiar, it might be because he also gifted us the infamous E.T.-adjacent adventure Mac and Me (1988) and the delightfully weird sci-fi romp The Ice Pirates (1984). Raffill certainly knows how to handle slightly off-kilter fantasy concepts on a budget. Mannequin Two definitely looks like an early 90s film – the fashion is a time capsule, the lighting is bright and functional, and the overall aesthetic feels less like a quirky fairytale and more like a standard studio comedy trying to recapture a fluke hit.
While the first film had some surprisingly effective (for the time) transformation effects, the magic here feels a little less... magical. The transition from wood to human is handled efficiently but lacks that touch of wonder. Remember how the original film's practical effects, like mannequins subtly shifting or moving, felt almost eerie and captivating on a fuzzy VHS? Here, the focus is more on broad comedy set pieces – Jessie experiencing modern life, misunderstandings involving her inanimate state, and chases involving the Count's cartoonish henchmen. It’s less about the enchantment and more about the situational humor, penned partly by TV veterans Ken Levine and David Isaacs, whose credits include heavyweight sitcoms like MASH* and Cheers. You can almost feel the attempt to inject sitcom rhythms into the fantasy premise.
A fun retro fact: much like the original, large parts of the film were shot in and around the iconic Wanamaker's department store (now Macy's Center City) in Philadelphia, providing a genuine link to its predecessor and grounding the fantasy slightly in a real, recognizable space. Seeing those grand interiors again definitely sparks a flicker of nostalgia.
### Does the Magic Hold Up?
Critically and commercially, Mannequin Two: On the Move didn't make nearly the splash the original did. It grossed just under $4 million against a reported $13 million budget, a far cry from the first film's surprise success. It often felt like a contractual obligation sequel rather than a story bursting to be told. Watching it now, it’s undeniably sillier, broader, and less charming than the 1987 film.
Yet... there’s still something endearing about its complete lack of pretense. It’s a goofy, harmless early 90s fantasy comedy that leans heavily on Meshach Taylor's brilliance and the inherent absurdity of its concept. It doesn't aim particularly high, but it delivers exactly what you'd expect from a sequel trying to replicate a formula on presumably fewer resources. I distinctly remember renting this one from the local video store, hoping for more of that original magic, and feeling… well, entertained, if not exactly enchanted.
VHS Heaven Rating: 4/10
Justification: While Meshach Taylor is a solid 10/10 saving grace and there's definite nostalgic value in its early 90s aesthetic and Philly locations, the plot feels recycled, the central romance lacks sizzle, and the magic feels manufactured rather than wondrous. It's a significant step down from the original's quirky charm.
Final Thought: Mannequin Two is pure early 90s sequel fodder – less magic, more formula, but held together by the sheer fabulousness of Hollywood Montrose. A curiosity for completists and Meshach Taylor fans, but this statue mostly deserved to stay on its pedestal.