When I penned my review of The Super Mario Bros. Movie exactly three years ago, I praised what I then considered a brilliant big-screen adaptation of Shigeru Miyamoto, Takashi Tezuka, and Koji Kondo’s unique Mushroom Kingdom fantasy. However, my primary critique focused on the film’s relentless pace and its somewhat hollow essence. From the moment it left Brooklyn, it barraged viewers with one action sequence after another, losing narrative direction and leaning entirely on nostalgic references. Despite these points, its visual splendor and well-crafted characters made it recommendable, even to those unfamiliar with video games – if such individuals still exist.
The Super Mario Galaxy Movie, regrettably, appears to disregard this frequently echoed criticism. Instead, it doubles down on the dopamine-bombarding formula, seemingly tailored for the ADHD generation, and with an even greater frenzy, if that’s at all possible. The fundamental issue this time is its almost complete failure to lay any meaningful groundwork.
While it would be disingenuous to expect this animated feature to possess the gravitas and character depth of The Godfather, for its characters to be identifiable, distinguishable, or for their countless jokes to land effectively, the ensemble needed more careful development and on-screen dialogue. Or perhaps a touch of the elegance and restraint exemplified by, say, the dog sequence. This criticism arises because Rosalina is entirely sidelined after a promising introduction, Yoshi transitions from an exciting discovery to a mere background extra, and Fox McCloud inexplicably takes center stage for a significant portion of the film, despite his individual sequences being genuinely cool. If this sequel strips away the distinct personality of Donkey Kong and his family, if the Lumas become yet another childish iteration of Toads, and if the most unique highlights of the first film vanish, what remains is little more than a barrage of gags supported by visually spectacular scenes.
Furthermore, there’s another crucial element I had hoped they would fully capitalize on: the distinctive gravity mechanics central to the Super Mario Galaxy titles. While there are one or two fleeting nods, particularly in the Casino segment, where is the profound sense of weightlessness so integral to the video games? The upside-down worlds, the “three-body problem,” or the constantly shifting gravity… On the Wii, and even for those who’ve played it recently on Switch, these experiences delivered and continue to deliver fantastic, visceral sensations that the film utterly fails to harness. Yes, you see asteroids and larger planets directly inspired by or copied from the games, and certainly there’s plenty of space travel and jumping, but the very essence, the pure ingenuity of those games, feels diluted.
Instead, viewers will encounter far more elements from Super Mario Odyssey, presented in rapid cuts (like the Cascade and Sand Kingdoms) and often feeling out of place (such as a particular song used inappropriately). The medley also draws inspiration from Mario Sunshine and Wonder, but frequently without properly establishing the context for these references. Consequently, the most visually compelling elements still stem from older games; indeed, the much-improved final scenes make excellent use of the pixel art from Super Mario Bros. and Super Mario World. Finally, a moment of genuine surprise appears, almost at the very end.
Perhaps the most significant missing ingredient in The Super Mario Galaxy Movie is surprise and mystery, both narratively and artistically. It feels incredibly flat compared to its fabulous source material, even managing to muddy the waters for several characters, including Mario himself, the supposed protagonist. Granted, there are some attempts at romance, Princess Peach’s origins are revealed as anticipated, and Bowser and his storyline once again steal the show: while not quite matching their debut, they evolve hilariously and remain perfectly in line with the games.
That said, this is undoubtedly an essential film for dedicated fans. If you’re eager to see the best renditions of Mario’s worlds, it’s an absolute feast for the eyes. While it takes far too much for granted, keen observers might find small engaging details amidst the monotony (though the Easter eggs aren’t as numerous or impactful this time). And Brian Tyler once again delivers the finest possible homage to Koji Kondo and Mahito Yokota; for the soundtrack alone, The Super Mario Galaxy Movie would almost be worth watching with your eyes closed. However, I suspect this repetitive formula, designed to compensate for its flaws, won’t land as effectively as the first time, unfortunately making this film less suitable for all audiences. Lessons will need to be learned for DK’s now predictable return to the big screen.