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After directing the first Urusei Yatsura movie, Mamoru Oshii also worked as a director for the second movie. The sequel also had production issues and a tight time constraint like the previous film. Instead of replacing the quitted director, Oshii had to take over writing the script this time. Because the first cinema adaptation did not fit into Oshii's concept of a movie, he deviated significantly from the plot structures and themes of the manga. Although neither the manga creator Rumiko Takahashi nor the production company Toho was satisfied with Oshii's approach, there was no time for discussions.

The film was released five months later to mixed reviews. The majority of the negative responses came from fans who did not like the shift to a more philosophical, self-reflecting and experimental tone. Despite the occasional thought-provoking dialogues or experimental visual scenes, the adaptation stays faithful to its comedic roots. Another major criticism from the fans was the lack of screentime used for the female protagonist Lum, one of the most iconic anime characters of the 1980s. In other words, the emphasis on half-naked attractive women who love someone blindly was missing.

In contrast to the predecessor, the story focuses more on the male protagonist Ataru than the female one. Additionally, their characters and motivations are more polished and fathomable. Following the trend of improving prior disappointments, most side symbols got at least the bare minimum of characterisation this time. The majority even play a meaningful role in the film, but they do not leave a lasting impression. Although the villain is introduced late into the movie, his unconventional motive and unusual appearance make him memorable.

Besides the enjoyable characters, the creative, intellectual and mysterious plot is even more engaging. Comparable to one of the themes in Ghost in the Shell 2: Innocence, Oshii plays with the thoughts that someone's dreams could be someone else's reality. In this delusional reality, the laws of the universe do not apply, and the notion of time is irrelevant. Would the viewer escape such a fictional world if they felt comfortable and enjoyed living there?

Lum's dream of living happily ever after, with Ataru, his parents and his friends is a metaphor for the distancing from reality by excessive fans. Albeit the idea of escapism to fantasy is pleasant and alluring, it is only short-term happiness. In the movie, Ataru realises that after his greatest desire comes true. However, the person he loves most is still missing, and he decides to return to the real world.

Another prominent part of the plot was the mystic time loop. A fascinating concept that later movies, even outside the realm of animation, would use and extend on. Apart from fitting into the dreamy atmosphere, it criticises the repetition of the story's core structure in the manga and series. After directing 106 episodes of the series and one movie, Oshii felt the need to express his aversion to the franchise in a poetic manner.

Despite the age of the movie, the animation still looks good. Furthermore, the adaptation has occasional stunning cinematography and gorgeous dialogue-free scenes. In comparison to Oshii's later work, the score is underwhelming, but it is decent in the context of other work around this time.

To sum up, Urusei Yatsura 2: Beautiful Dreamer is the birth of Oshii's original directorial style. All his earned trust in his skills would flow into his remarkable artistic project called Angel's Egg, whose failure at critics almost cost his carrier. If you are a fan of Oshii's work, the franchise or unusual comedies, the second Urusei Yatsura movie is a must-watch.