However, I knew then that it was a stepping stone to wilder stories within Mario's universe, even teasing the appearance of Yoshi in its post-credits clip. Three years later and with its creative crew back in full force, the promise of that wilder sequel is here, with The Super Mario Galaxy Movie. Unfortunately, wilder isn't better, as despite many a fan-pleasing beat for Nintendo lovers, it is once again the story that lets this pipe dream down.
At the Comet Observatory, Princess Rosalina (Brie Larson) is attacked and kidnapped by Koopa Prince Bowser Jr. (Benny Safdie), who is intent on rescuing his currently imprisoned father King Bowser (Jack Black). One of Rosalina's adopted Lumas crash-lands in the Mushroom Kingdom, seeking the help of Princess Peach (Anya Taylor-Joy). Joined by her faithful aide Toad (Keegan-Michael Key), Peach sets off to track down the missing princess, while the Mushroom Kingdom's is attacked by Bowser Jr. Having been whisked away on an intergalactic adventure, the plumber brothers Mario and Luigi (Chris Pratt and Charlie Day), joined by the shrunken Bowser and their new dinosaur companion Yoshi (Donald Glover), set forth to follow in Peach's footsteps.
Drawing upon material from its namesake - the Nintendo Wii's Super Mario Galaxy, what's immediately evident is how expansive the world of Mario is. With the introduction of galaxies, there feels like there's a limitless world of potential that Illumination can explore. So which ideas do they choose? The entire kitchen sink, leaving no stone unturned, with a script that sinks into bloat.
This is a shame, because Galaxy's early stretches promise something spectacular, exciting and more patient than we'd expect from a Mario Movie. The issue is that Mario Galaxy feels like storytelling on fast forward, as once those pensive character intros and recaps are over, it is full steam ahead to its detriment. On one hand, the film can ensure its audience won't get bored, stockpiling itself with fun set-pieces that play to Illumination's talent with slapstick. On the other hand, it makes it hard to form a genuine connection with anything here. First of all: Does any character in this film have an arc?
Despite Mario being the title character, he feels like he's just along for the ride. To the film's credit, it wisely keeps Mario and Luigi attached at all times. Thank goodness, because the interplay between Chris Pratt and Charlie Day (despite the former's still wobbly commitment behind the mic) is infectious to hear. The problem is that they really are static characters, and despite the promises of personal flaws they have to overcome (Mario's inability to trust Bowser, and Luigi's persistent fear of everything), it never feels like the two evolve through the film. Things simply happen that drive them forward, making you wonder what the obstacle was for them.
In their meandering, it's Peach who rises up as the main character, and perhaps the closest to a proper arc. She jumpstarts the initial quest driving the movie, she takes initiative and leaps into trouble, and the film's heart centers around the questions surrounding her past. These sections with Peach actually have some of the meatiest material, and her actions result in some of the film's defining centerpieces. Anya Taylor-Joy is particularly suited to the gamut of heartwarming dialogue and eager set-pieces, even teaming up with Toad in a frantic brawl in an underground casino, commandeered by Luiz Guzman's lecherous Wart. It's just a shame that her final resolution feels half-baked, when more screentime could have been devoted to her internal feelings.
In the first movie, Jack Black's Bowser stole the show, entertaining us every time he was onscreen. So, how do you give this character more novelty? Give him a son, of course. The film's main conflict is jump-started by Benny Safdie's Bowser Jr, an equally hot-tempered and proud leader as his father, only with the brattiness of a child. Despite the inexplicable casting choice, Safdie is clearly having a good time projecting his heart out, matching the manic and goofy energy of Bowser. Galaxy is actually at its funniest when these two are finally reconnected, as the two develop this brutish parental bond over tyranny and conquest. Despite the hilarious overkill of their ambitions, it is genuinely wholesome when it controls the limelight.
The problem isn't in any one of these threads being the focus. The problem is that the film only halfway tackles its potential themes before tossing them aside for hijinks. The film is jumbled in stringing its antics together, falling into action after action once the main quest begins. At least the first film had a clear thread to follow (Mario loves his brother, and he will save him). Whatever the emotional core of Galaxy is, I can't tell you. Even saying "family is the most important thing" is scraping the bottom of the barrel. There is no emotional hook here, and so the stakes are lower as a result. Even the humor isn't as memorable or iconic. There's nothing here as surreal as the "Peaches" number from the first film, so it loses personality by repetition.
That's a shame, because Mario characters have plenty of personality, but their screen counterparts are less compelling. For example, Brie Larson's Rosalina is completely wasted. She has her admittedly awesome observatory fight serving as the film's prologue, but once that intro is over, she becomes the damsel in distress, which is an overqualified waste of an Oscar-winning talent. Speaking of overqualified, in a humorous bit of stunt casting, the film goes out of its way to feature Donald Glover voicing Yoshi. To be fair, Glover is invisible in the part, and his vocals are spot on and funny to listen to. The real question is... Why? What does this add to the character? It's more an annoyance than a flaw, but it's still bewildering, especially when this movie already has a problem with bloat.
With slim storytelling, a lot rests on Illumination's animation skills. The first film was already their best-looking movie yet, and by some miracle, this one looks better. Illumination is perfectly suited to Mario's world, effortlessly adapting the art style between mediums. Character designs feel nicely refined and appealing, and the film's use of static angles and single takes - making it appear like a Let's Play session come to life - are genuinely inventive when they take center stage. The real issue is how much more the sequel relies on references and easter eggs, which the first film had plenty of, but Galaxy goes several steps further. It even goes beyond its namesake to use ideas from Sunshine and Odyssey, and the wider Nintendo world as a whole. It feels like overload at that point.
Embodying this idea is the inclusion of Star Fox protagonist Fox McCloud, voiced in the film by Glen Powell. Fox actually shows up so late in the story that it feels like a spoiler to mention him. Under normal circumstances, I wouldn't tell you Fox was in the movie. However, Universal itself spoiled his appearance in the marketing campaign, so I no longer feel guilty talking about him, and I'm of two minds on his inclusion.
On one hand, as a huge Star Fox fan (Dinosaur Planet and all), his appearance pleased me. While he is a bit rogueish for my taste, Glen Powell's voiceover is a charismatic joy to listen to. Stylistically, the film nails the Star Fox spirit. His character design is wonderful, his Arwing combat is rousing, and composer Brian Tyler has a blast adapting the Star Fox themes for orchestra. On the other hand, Fox does not fit with this movie stylistically. He feels plucked from another universe, and his inclusion even takes precious time from the film. Time that it could have spent developing other characters, rather than calling undue attention to a different character.
But beyond that, when I saw his character poster, my reaction was simply "Oh no." With Donkey Kong's appearance in the first film and Fox in the sequel, the Mario movies feel like backdoor launchpads for spin-off films, and with spin-offs come crossovers. Illumination might be establishing a Super Smash Bros. style shared universe. This feels dangerous for several reasons. One is that I don't think Illumination can take the stress tests of such a feat, like constantly shifting and ever-evolving storylines, frequent turnover rate with hard deadlines, and possibly satiating the egos of their stars. Moreover, we are in such a state of flux that even Marvel, the studio that repopularized the cinematic universe, is desperately clawing back legacy talent to retain relevance. Why then would Illumination and Nintendo throw their Yoshi eggs into this precarious basket?
Is The Super Mario Galaxy Movie among Illumination's worst? Not by a long shot. Not when movies like The Lorax and The Secret Life of Pets 2 exist. However, it is regrettably the movie we feared we would get with The Super Mario Bros. Movie. Their formula worked, and with that groundwork, they had an entire sandbox to play with. However, like an energetic child, they had no restraint in what they threw into said sandbox. It is a fun sequel. I will not deny that I was having a good time at points, but there's only so much that my enjoyment of spectacle can hold out before it's demanding more substance, and I don't think that Mario being skimpy as source material is an excuse anymore.
If you're a huge Nintendo fan or if you have children who are excited for Mario, I think you'll have a grand time with it. For only the casual observer, it isn't much of an adventure. Mamma mia!
**1/2 / *****
At the Comet Observatory, Princess Rosalina (Brie Larson) is attacked and kidnapped by Koopa Prince Bowser Jr. (Benny Safdie), who is intent on rescuing his currently imprisoned father King Bowser (Jack Black). One of Rosalina's adopted Lumas crash-lands in the Mushroom Kingdom, seeking the help of Princess Peach (Anya Taylor-Joy). Joined by her faithful aide Toad (Keegan-Michael Key), Peach sets off to track down the missing princess, while the Mushroom Kingdom's is attacked by Bowser Jr. Having been whisked away on an intergalactic adventure, the plumber brothers Mario and Luigi (Chris Pratt and Charlie Day), joined by the shrunken Bowser and their new dinosaur companion Yoshi (Donald Glover), set forth to follow in Peach's footsteps.
Drawing upon material from its namesake - the Nintendo Wii's Super Mario Galaxy, what's immediately evident is how expansive the world of Mario is. With the introduction of galaxies, there feels like there's a limitless world of potential that Illumination can explore. So which ideas do they choose? The entire kitchen sink, leaving no stone unturned, with a script that sinks into bloat.
This is a shame, because Galaxy's early stretches promise something spectacular, exciting and more patient than we'd expect from a Mario Movie. The issue is that Mario Galaxy feels like storytelling on fast forward, as once those pensive character intros and recaps are over, it is full steam ahead to its detriment. On one hand, the film can ensure its audience won't get bored, stockpiling itself with fun set-pieces that play to Illumination's talent with slapstick. On the other hand, it makes it hard to form a genuine connection with anything here. First of all: Does any character in this film have an arc?
Despite Mario being the title character, he feels like he's just along for the ride. To the film's credit, it wisely keeps Mario and Luigi attached at all times. Thank goodness, because the interplay between Chris Pratt and Charlie Day (despite the former's still wobbly commitment behind the mic) is infectious to hear. The problem is that they really are static characters, and despite the promises of personal flaws they have to overcome (Mario's inability to trust Bowser, and Luigi's persistent fear of everything), it never feels like the two evolve through the film. Things simply happen that drive them forward, making you wonder what the obstacle was for them.
In their meandering, it's Peach who rises up as the main character, and perhaps the closest to a proper arc. She jumpstarts the initial quest driving the movie, she takes initiative and leaps into trouble, and the film's heart centers around the questions surrounding her past. These sections with Peach actually have some of the meatiest material, and her actions result in some of the film's defining centerpieces. Anya Taylor-Joy is particularly suited to the gamut of heartwarming dialogue and eager set-pieces, even teaming up with Toad in a frantic brawl in an underground casino, commandeered by Luiz Guzman's lecherous Wart. It's just a shame that her final resolution feels half-baked, when more screentime could have been devoted to her internal feelings.
In the first movie, Jack Black's Bowser stole the show, entertaining us every time he was onscreen. So, how do you give this character more novelty? Give him a son, of course. The film's main conflict is jump-started by Benny Safdie's Bowser Jr, an equally hot-tempered and proud leader as his father, only with the brattiness of a child. Despite the inexplicable casting choice, Safdie is clearly having a good time projecting his heart out, matching the manic and goofy energy of Bowser. Galaxy is actually at its funniest when these two are finally reconnected, as the two develop this brutish parental bond over tyranny and conquest. Despite the hilarious overkill of their ambitions, it is genuinely wholesome when it controls the limelight.
The problem isn't in any one of these threads being the focus. The problem is that the film only halfway tackles its potential themes before tossing them aside for hijinks. The film is jumbled in stringing its antics together, falling into action after action once the main quest begins. At least the first film had a clear thread to follow (Mario loves his brother, and he will save him). Whatever the emotional core of Galaxy is, I can't tell you. Even saying "family is the most important thing" is scraping the bottom of the barrel. There is no emotional hook here, and so the stakes are lower as a result. Even the humor isn't as memorable or iconic. There's nothing here as surreal as the "Peaches" number from the first film, so it loses personality by repetition.
That's a shame, because Mario characters have plenty of personality, but their screen counterparts are less compelling. For example, Brie Larson's Rosalina is completely wasted. She has her admittedly awesome observatory fight serving as the film's prologue, but once that intro is over, she becomes the damsel in distress, which is an overqualified waste of an Oscar-winning talent. Speaking of overqualified, in a humorous bit of stunt casting, the film goes out of its way to feature Donald Glover voicing Yoshi. To be fair, Glover is invisible in the part, and his vocals are spot on and funny to listen to. The real question is... Why? What does this add to the character? It's more an annoyance than a flaw, but it's still bewildering, especially when this movie already has a problem with bloat.
With slim storytelling, a lot rests on Illumination's animation skills. The first film was already their best-looking movie yet, and by some miracle, this one looks better. Illumination is perfectly suited to Mario's world, effortlessly adapting the art style between mediums. Character designs feel nicely refined and appealing, and the film's use of static angles and single takes - making it appear like a Let's Play session come to life - are genuinely inventive when they take center stage. The real issue is how much more the sequel relies on references and easter eggs, which the first film had plenty of, but Galaxy goes several steps further. It even goes beyond its namesake to use ideas from Sunshine and Odyssey, and the wider Nintendo world as a whole. It feels like overload at that point.
On one hand, as a huge Star Fox fan (Dinosaur Planet and all), his appearance pleased me. While he is a bit rogueish for my taste, Glen Powell's voiceover is a charismatic joy to listen to. Stylistically, the film nails the Star Fox spirit. His character design is wonderful, his Arwing combat is rousing, and composer Brian Tyler has a blast adapting the Star Fox themes for orchestra. On the other hand, Fox does not fit with this movie stylistically. He feels plucked from another universe, and his inclusion even takes precious time from the film. Time that it could have spent developing other characters, rather than calling undue attention to a different character.
But beyond that, when I saw his character poster, my reaction was simply "Oh no." With Donkey Kong's appearance in the first film and Fox in the sequel, the Mario movies feel like backdoor launchpads for spin-off films, and with spin-offs come crossovers. Illumination might be establishing a Super Smash Bros. style shared universe. This feels dangerous for several reasons. One is that I don't think Illumination can take the stress tests of such a feat, like constantly shifting and ever-evolving storylines, frequent turnover rate with hard deadlines, and possibly satiating the egos of their stars. Moreover, we are in such a state of flux that even Marvel, the studio that repopularized the cinematic universe, is desperately clawing back legacy talent to retain relevance. Why then would Illumination and Nintendo throw their Yoshi eggs into this precarious basket?
Is The Super Mario Galaxy Movie among Illumination's worst? Not by a long shot. Not when movies like The Lorax and The Secret Life of Pets 2 exist. However, it is regrettably the movie we feared we would get with The Super Mario Bros. Movie. Their formula worked, and with that groundwork, they had an entire sandbox to play with. However, like an energetic child, they had no restraint in what they threw into said sandbox. It is a fun sequel. I will not deny that I was having a good time at points, but there's only so much that my enjoyment of spectacle can hold out before it's demanding more substance, and I don't think that Mario being skimpy as source material is an excuse anymore.
If you're a huge Nintendo fan or if you have children who are excited for Mario, I think you'll have a grand time with it. For only the casual observer, it isn't much of an adventure. Mamma mia!
**1/2 / *****
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