In the first Hotel Transylvania, Count Dracula’s refusal to conform to the cliches of vampire legend (“I don’t say ‘bleh, bleh, bleh’”) was a mantra for the whole movie, a fast-paced and joke-filled riff on monster mythos that, in its best moments, played like a self-contained Looney Tunes version of Abbott And Costello Meet Frankenstein.
After that mildly pleasant surprise, the sequel mostly abandoned the monster hotel conceit in favour of a lackadaisical venture into the human world and Drac’s vain attempt to coax fangs out of his half-human grandson.