Coming 2 America begins with several immediate problems. The title itself is deceptive, incorporating a number when most of the story unfolds in Zamunda, and it arrives thirty years after its predecessor. The plot centers on a son that the main character didn’t know he had, the content has been toned down for broader appeal, and the actors are briefly subjected to digital de-aging. This places the film alongside titles like 2 Fast 2 Furious, The Odd Couple II, Indiana Jones and the Kingdom of the Crystal Skull, The Expendables 3, and The Irishman—a less than flattering group. We're introduced to Nextdoria, a neighboring country to Zamunda. The name itself seems to highlight the lack of imagination from director Craig Brewer (though he’s still preferable to John Landis, who directed the first film), as well as writers Kenya Barris, Barry W. Blaustein, and David Sheffield. It's hard to believe three people were involved in creating a movie where humor consists largely of Akeem (Eddie Murphy) repeatedly and cheerfully referring to his son as a “bastard.” Swearing isn’t inherently humorous; it needs context. In the original Coming to America, it was amusing when Akeem used profanity unintentionally because he meant to be polite—a clever irony. It's difficult to accept that he would be unaware of the offensive nature of the word "bastard." Similarly, another attempt at humor comes from the contrast between Zamunda’s refined royalty and Lavelle’s (Akeem’s illegitimate son) family’s rough manners; Leslie Jones and Tracy Morgan play Lavelle's mother Mary and Uncle Reem respectively, so stereotypical portrayals of African-American behavior are abundant. Coming 2 America isn't completely without enjoyment, but these moments are scarce. There is a performance by En Vogue and Salt-N-Pepa singing their 1993 song “Whatta Man” with altered lyrics—though the highlight of the film is undoubtedly Wesley Snipes’s portrayal of General Izzi (Imani’s older brother). He dominates every scene he's in, even overshadowing Murphy and Hall. The rest feels like a reliance on nostalgia, firmly rooted in 1980s values. There's an acknowledgment of gender equality when Akeem alters the royal succession to allow his eldest daughter to rule upon his death; however, he conveniently overlooks another tradition from the original film, where kings and princes are bathed by attractive young women who were previously shown to be sexually subservient. Also, Imani is still hopping on one leg and barking like a dog, as Akeem callously ordered her to do years ago.

Source on TMDB