After the massive commercial success of The Super Mario Bros. Movie three years ago, a sequel was a guarantee, and with Nintendo’s massive marketing machine behind the follow-up, it was impossible that The Super Mario Galaxy Movie wouldn’t also be a smash hit. However, just like its predecessor, the critical response is miles away from the audience one. The last film has a 95% audience score on Rotten Tomatoes against a tepid and palindromic 59% critical score, one point south of “Fresh” status. For this sequel, there was the predictable drop-off, with only 89% of viewers liking it and 42% of critics approving. Similar to the last entry, the main crux of the displeasure basically centers on the idea that the story isn’t ambitious or deep enough, and there’s too much focus on nostalgia and references.
To which I ask in response, “Have you ever played a Mario game before?”
As noted in the opening logo slate, the franchise is celebrating its 40th anniversary this year (specifically for Super Mario Bros.; his debut in Donkey Kong was in 1981, and his first headlining title, simply called Mario Bros., came out in 1983), and I can’t think of a single mainline game in the series that’s ever had an involved plot. It’s almost always some variant of “Bowser’s doing some evil shit/kidnapping Princess Peach, so go stop him.” Occasionally you get a framing device like the tropical vacation to Isle Delfino in Super Mario Sunshine or the introduction of Rosalina in this film’s inspirational game from 2007, but the formula is largely unchanged over four decades. Even the role-playing games, which inherently have deeper lore, basically keep things on the same path, just with more diversions and tangents. This is in keeping with Shigeru Miyamoto’s longstanding ethos at Nintendo, “We’re making games, not movies.” Now you can say, “But this is a movie,” but the point still stands. The emphasis is on fun first and foremost (whether that’s in art style, game mechanics, or in this case, visuals and character), and then we move on to the plot. If you prefer more dense and involved narratives in your games, that’s perfectly fine, but to argue that the Mario movies are bad because they don’t betray the key elements that made the games revolutionary in the first place – thereby allowing for the films’ existence – is just disingenuous.
Because while Galaxy isn’t as good as its forebear, it is still incredibly fun. It’s simple, not stupid, which is a distinction that many critics fail to recognize, and it’s entirely the point of the picture. The Mario games are enjoyable adventures where Nintendo can flex its creative muscles and show off new technology and level designs, which is what makes them system sellers with each new console generation. You’re not meant to think about future implications or any kind of profound messaging, you’re just meant to pop it in and enjoy, occasionally challenging yourself on difficult stages, but that’s about it. Given the milestone anniversary, the film also provides the opportunity for targeted homages and acknowledgements through the references, rather than just being a parade of “Hey, remember that this is/was a thing?” moments. It’s appropriate that the movie debuted on Easter weekend, as the eagle-eyed viewer will find a treasure trove of Easter Eggs littered throughout, to the point that I’m fairly certain that every main game in the series gets a nod or two.
So rather than harp on bad faith criticism, let’s focus on the good. The last film did have some flaws, even for those like me who really liked it. To its credit, Galaxy addresses most of them quite effectively. For one, in keeping with the last flick, the film continues the miracle of having no fart jokes in an Illumination picture. Further, there was some disappointment last time out that there were too many catalog music tracks that were inserted over the orchestral score (which invoked themes from the classic games) at the last minute. No such issue here. There’s only one needle drop (the instrumentals of “Hypnotize,” so it’s more of a Herb Alpert song than Biggie), and it takes place in a brief montage aside to the “real” world, which keeps it isolated from the actual lovely soundtrack we get. Fred Armisen’s Cranky Kong was annoying, and Seth Rogen’s Donkey Kong didn’t add much to the proceedings last time, so they’re just not in this one (DK appears briefly and silently during the aforementioned “real” world montage, along with several other side characters from the previous outing). Some people were put off by Luigi being too cowardly (even though that kind of is his character), so there’s an emphasis on making him braver and more assertive this time. If there’s one thing Nintendo has been consistently great at over the past four decades, it’s responding to fans’ concerns and fine-tuning future experiences to match. It’s why they’ve been so successful for so long (to say nothing of their 19th century playing card origins).
Now, on to what actually happens. Princess Rosalina (Brie Larson), the magical adoptive mother of the Lumas, is kidnapped from her Comet Observatory by Bowser Jr. (Benny Safdie, seemingly more committed here than in the entire production of The Smashing Machine), accompanied by Kamek (Kevin Michael Richardson). The abduction is part of the tiny turtle dragon’s plan to reclaim his shrunken father (Jack Black, still killing it with his madcap energy) and destroy the universe from his Death Star-esque celestial weapon, Planet Bowser.
Meanwhile, in the Mushroom Kingdom, Mario (Chris Pratt) and Luigi (Charlie Day) investigate a strange blockage on a warp pipe, revealed to be Yoshi (Donald Glover), who instantly joins the crew, much to the initial chagrin of Toad (Keegan-Michael Key). Mario plans to confess his feelings for Princess Peach (Anya Taylor-Joy) at her birthday party (really the anniversary of her arrival in this world as an infant), presenting her with her trademark parasol as a gift. The revelry is interrupted by the arrival of a Luma, who went looking for Peach knowing she could help, thanks to the bedtime stories Rosalina would tell about her. Peach and Toad set off for the Gateway Galaxy in search of information and eventual transport to where Rosalina’s being held.
Mario and Luigi are left in charge of the kingdom, but their stewardship is short-lived, as Bowser Jr. attacks, lifting Peach’s castle into space in an attempt to rescue his father. Bowser, still diminutive as part of his punishment from his actions in the last film, pleads with Mario that he’s changed, and will be an ally if he’s allowed to resume his original form. There are obvious trust issues, but when Bowser learns that it’s his son behind the invasion, he becomes adamant that he can reason with the boy and repair their relationship. The child eventually secures his father and takes him to Planet Bowser, the culmination of his own bedtime tales about the two of them conquering the universe, while Mario, Luigi, and Yoshi eventually reunite with Peach and Toad, who are transported to the massive enemy base by Fox McCloud (Glen Powell) for the climactic showdown.
There’s a lot going on here, and not all of it works. For my part, I can concede that the point-to-point jumping is too hyperactive, the one true Illumination hallmark that pervades the proceedings. At times it can just be too much, and it was clearly designed for children with short attention spans, because they’re watching the movie instead of playing it. I get why the decision was made, I just didn’t care all that much for it. For example, we didn’t need a diversion to a planet of bees just to include Issa Rae as the Honey Queen for all of two minutes. Character cameos can be fun – and there are quite a few of them here, including several cross-property appearances that make me genuinely wonder if the next movie will end up being a Super Smash Bros. project – but they don’t always land.
This carries over into the myriad references that litter every scene, almost forcing you to watch the film multiple times to notice them all. I love the reverence of these nods, but we didn’t need to see the baby versions of Mario and Luigi just for a Yoshi’s Island callback that we’d already checked off, and similarly we didn’t need the T-rex from Super Mario Odyssey, especially since that game has numerous highlights in the film (though we at least get a solid punchline from a frustrated Peach about accumulating dinosaurs).
At the same time, there are some really good moments that arise from these asides. My favorite involves Peach and Toad having an action scene instigated by Ukiki the Monkey from Mario 64 (Roxana Ortega) stealing Toad’s backpack. It culminates with a highly imaginative fight with several antagonists from Super Mario Bros. 2 (the American version), including final boss Wart (Luis Guzmán) that takes place inside a three-dimensional space housing a casino, where gravity and physics only adhere to the surface one is currently on. Not only is the sequence inspired, but it literally takes place inside a “game cube.” It’s one of the subtler hat tips, which is why I love it.
This leads in to the film’s greatest strength, the visuals. Just like the last entry, this flick is punching way above its class when it comes to the quality of the animation. Normally Illumination just settles for bulbous, absurd shapes and nonsensical rubber physics. But here, directors Aaron Horvath and Michael Jelenic, the team behind Teen Titans Go!, really commit to making sure we have a spellbinding visual profile. All the characters are richly defined, even the background creatures like Piantas and Whittles. The environments are highly detailed, with vibrant, expressive colors, even when in darker areas like Planet Bowser itself. The action set pieces, which were hit and miss last time, have been stepped up significantly, to the point where the choreography and geography of the battles almost always makes sense.
Then, of course, there’s Bowser Jr. and his paintbrush mechanic. This was a major component of his character when he was introduced in Super Mario Sunshine, using the brush to vandalize Isle Delfino and frame Mario by disguising himself. Here, the concept is taken to some incredible extremes, creating obstacles, weapons, enemies, and even a few great gags. This is arguably where the artistic team got the most freedom to be creative, and they did not take it for granted.
As for the story, while it’s intentionally surface-level, there are some ambitious elements to it, flying in the face of the criticism of those who penalized the movie for being what it was, and not what they wanted it to be. There are two major moments in particular, one of which I won’t spoil, though some critics already have. But the other one, which was already hinted at in the previews, is that Bowser and Bowser Jr. have a genuinely loving father-son relationship. This isn’t really a thing in the games. Before Sunshine, Bowser had seven children, who were introduced in Super Mario Bros. 3. They’ve made repeat appearances, mostly in the 2D games, while Bowser Jr. is typically reserved for 3D outings, though that’s not an ironclad rule. Regardless, while there’s the occasional interaction or conversation between Bowser and his offspring (the impetus for Bowser Jr. kidnapping Peach in Sunshine is that Bowser told him Peach was his mother, a lie he’d eventually cop to), for the most part, the kids are just sidekicks and mini-bosses before we get to the real final showdown with Bowser himself. There’s never really been a genuine exploration of their dynamic before, and doing so here helps to flesh out their characters in interesting ways. Between this and the other major whammy, the film introduces some ideas that will have genuine canon implications for the series as a whole moving forward. If this weren’t an official Nintendo project, you might be able to write it off as a fantasy, but this is fully intentional and with the company’s approval. That carries real weight. It might not be the weight that some in the press would want, but that doesn’t delegitimize it.
Moreover, the family dynamic is what gets to the heart of the movie’s true intent. We’ve been playing these games for 40 years now. The parents who take their kids to see this played the games in their youths, and their children are playing them now. That’s why we have so many homages and Easter Eggs, as well as these novel (for the franchise, anyway) explorations of familial relationships outside of the titular plumbing brothers. Video games are now a generational experience, a part of our cultural heritage. Like I mentioned when I reviewed the first flick, my mom used to watch me play for hours on end, basking in the joy of seeing her son succeed and win the day, even though her skills were lacking (she was good at Pac-Man back in the day, but couldn’t get past level 2-3 in Super Mario Bros.). Now, parents and kids alike learn and understand game mechanics and level design techniques, so that the fun can truly be shared. Nintendo has been at the forefront of that idea for years, particularly in the Wii era, where the entire marketing campaign centered on how the whole family could play together.
That translates to the film, and it’s what elevates it above a mere branding exercise. Is it as good as the last one? No, not really. There’s a ton of stuff you can nitpick (in the first scene, when Rosalina is reading stories to the Lumas, they call out requests for different stories, which she starts, but she never turns the pages in her book, for example), and as I said, sometimes the zipping plot and deluge of references ironically bog things down. There are unresolved plot threads, particularly whether or not we can truly ship Mario and Peach as a couple (let the uggoes of the world like me dream, dammit!). The final, end-of-credits tease is funny, but not all that impressive.
But on the whole, Nintendo accomplished exactly what it set out to do. It gave us a silly yet dazzling adventure that expands on the foundation forged by the first film, setting up a satisfying and lasting cinematic franchise, something very few movies based on video games have been able to pull off. It’s not exactly innovative, but it never tried to be. There are times when I will knock a film for that lack of ambition the same way other critics have knocked this one, but I always take creative intent into consideration. This was meant to be fan service, pure and simple, and that’s precisely what it is. I often say that I’m kinder to risky failures than safe mediocrities. This is safe, but it’s not mediocre. It just knows what it is, and what it wants, and it delivers exactly that in a way that will give gamers of all ages something to smile about.
Grade: B
Join the conversation in the comments below! What film should I review next? Does a video game movie need complex plots and lore? Does this movie’s big twist ruin all future slash fiction? Let me know! And remember, you can follow me on Twitter (fuck “X”) as well as Bluesky, subscribe to my YouTube channel for even more content, and check out the entire BTRP Media Network at btrpmedia.com!
I Actually Paid To See This 