If you don't entirely remember the months-ago release of the first half of The Seven Deadly Sins: Grudge of Edinburgh, you may want a refresher before you start watching part two. This is a single film broken into two equal (length) pieces, and there's no mucking about when jumping into the action. It is relatively easy to piece things together, such as Tristan's angst and Elizabeth's curse, but for full impact, it does help to have the first film fresh in your mind.

With that said, the major reveal of the first half – that Tristan's fairy companion is Lancelot in his fairy form (and taking after his uncle King) – is still the most significant piece of the story. Tristan's fight against Lancelot when they were younger is at the root of his fear of his powers, and Lancelot also seems to be carrying some baggage related to the incident. Those familiar with the tropes of shōnen action series will be unsurprised by why Lancelot bears his grudge. Still, Tristan isn't so savvy, and coming to understand why Lancelot's feelings were hurt far more than his forehead is something that he has to grow into. It's a bit of character work that genuinely highlights the difference between the two boys: Tristan is ultimately a kind person who cares deeply about those around him. At the same time, Lancelot is more stoic, a warrior through and through, even at his young age.

While this does play into who their parents are – and it's interesting to note that Tristan takes after his mom while Lancelot resembles his dad – it also ties into the underpinnings of Arthurian legend that The Seven Deadly Sins franchise is built on. In the tales, Tristan is a romantic hero (Tristan and Isolde), while Lancelot's story has much more variation, painting him as romantic, chivalric, and tormented by turns. (Or, in the case of Alfred, Lord Tennyson's The Lady of Shalot, as an ass.) Tristan's throughline here is about self-confidence and understanding his nature and that of his family, and when his parents show up to make sure that he's okay, he's relieved to see them, and not just because the entire journey started because of his mother's curse. On the other hand, Lancelot is much more like a post-Grail legend version of the character, holding himself aloof and adhering to his code but ultimately withdrawing from others for his own reasons. Interestingly, the film hints at a conflict with King Arthur, taking from the Lancelot legend's more romantic (or “romantic”) plotlines. Still, ultimately, he comes across as a driven, bitter character.

This works well for the way that the fighting plays out. Tristan is all emotions and needs Lancelot's tactical guidance, while Lancelot needs Tristan's openness to confront some of what he's carrying inside. Although the fights aren't spectacular, they are interesting, and some more marginally upsetting character designs help this; Deathpierce's final chimeric transformation is like the world's creepiest emojis all smushed together. Both boys have room to shine, but the focus is primarily on Tristan, with Lancelot's support. As we watch them work together, there is a sense that Lancelot is trying very hard to hold on to his bitterness, and this carries through to the end when he makes a very different choice than Tristan upon the Sins' arrival. All of this contributes to the idea that these films are setting up the next generation of protagonists, and it does work in that sense.

Once again, the film is animated in 3D, and although it's far from the worst out there, it still has issues, particularly with hair, cloth, and head movements; when your theatrical presentation doesn't compare favorably to a Nintendo Switch game, you may have a problem. It's still better than the sound effects, which sound ripped from a fighting game. The music is fine but largely unremarkable, neither enhancing nor detracting from the story. And that story is the most substantial part of the film; even though it was split across two films (needlessly, perhaps), it does tell a good tale about what it would be like to be the child of not just a king and queen, but a king and queen who are also legendary heroes. Tristan's fears aren't just about his power but also about living up to his parents' reputations. Taking on Deathpierce to save his mother is a two-fold mission: he desperately wants to save Elizabeth, but he also wants to prove that he, Tristan, is enough. While that isn't fully resolved (which it shouldn't be since he's a young teen with space to grow), it is moved in a very positive direction.

There are plenty of hints at a more extraordinary story unfolding around this film. Lancelot's apparently on a mission, goodness knows what Arthur's up to (it doesn't look good), and Tristan has only taken the first steps of his journey. But the story feels conclusive enough, and this is a good follow-up to the first film, with, as always, nice Arthurian bonuses for good measure.