Three years ago, I lauded The Super Mario Bros. Movie as a brilliant big-screen adaptation of the unique fantasy that is Shigeru Miyamoto, Takashi Tezuka, and Koji Kondo’s Mushroom Kingdom. However, my main criticism was its relentless pace; it offered little room for relaxation and felt somewhat hollow, bombarding viewers with action sequence after action sequence, getting lost, and relying entirely on nostalgic references after leaving Brooklyn. Despite these flaws, its visual appeal and certain well-crafted characters made it recommendable, even to those unfamiliar with the video games—if any such people remain.
The Super Mario Galaxy Movie unfortunately disregards these often-repeated criticisms. In fact, it repeats the dopamine-bombarding, ADHD-friendly formula with even greater frenzy, if that’s possible. The significant issue is that this time, it establishes virtually no foundational groundwork.
While it would be hypocritical to expect the character credibility and depth of *The Godfather* from an animated film, to even identify or distinguish these characters, and for their umpteenth joke to land more effectively, the cast desperately needed more care and on-screen dialogue. Or something akin to the elegance and restraint of the dog sequence. I say this because Rosalina is completely sidelined after a promising introduction, Yoshi transitions from an exciting discovery to a background extra, and despite Fox McCloud’s cool character and sequences, his prominence for a period feels odd. If you strip this sequel of Donkey Kong’s personality and his family, if the Lumas turn out to be just another childish version of Toads, and if the most unique highlights of the first film vanish, what remains is a succession of gags propped up by visually spectacular scenes.
Furthermore, a crucial element I hoped they would leverage—the gravity-defying gameplay from the Super Mario Galaxy titles—is largely absent. There are indeed one or two nods, particularly in the Casino section, but where is the sense of weightlessness so central to the video games? The upside-down worlds, the three-body problem, or the shifting gravity… On the Wii, and even for those who’ve played recently on the Switch/2, these were and remain fantastic, gut-twisting sensations that the film fails to exploit. Yes, you see asteroids and larger planets inspired by or directly copied from the games, and of course, there’s plenty of space travel and jumping, but the very essence, the pure ingenuity of those games, is diluted.
Instead, viewers are subjected to many more elements from *Super Mario Odyssey*, but delivered as rapid-fire cuts (Cascade, Sand) and often even out of place (a certain song appearing where it didn’t belong). The medley also draws from *Mario Sunshine* and *Wonder*, but frequently without properly establishing the reference. For this reason, visually, the strongest elements still come from older games, and indeed, the much-improved final scenes make excellent use of the pixel art from *Super Mario Bros.* and *Super Mario World*. Finally, something surprising, almost at the very end.
And perhaps that is what The Super Mario Galaxy Movie lacks most: surprise and mystery, whether narrative or artistic. It is incredibly flat compared to its fabulous source material and manages to muddle the waters for several characters, including Mario himself, the supposed protagonist. Certainly, there are a few attempts at romance, Princess Peach’s origins are revealed as expected, and Bowser and his storyline, once again, steal the show: although not quite as impactful as the first time, his development remains hilariously in line with the games.
Nevertheless, this is undeniably an essential film for fans. For those seeking the best visual renditions of Mario’s worlds, it’s a feast for the eyes. While it takes too much for granted, there are still small details to appreciate when boredom sets in (though the Easter eggs are neither as numerous nor as clever this time). And Brian Tyler once again delivers the best possible tribute to Koji Kondo and Mahito Yokota; the soundtrack alone might make *The Super Mario Galaxy Movie* worth watching even with your eyes closed. However, I suspect this repetitive formula of compensating for silliness won’t land as effectively as the first time, which unfortunately means this film is less suitable for a broad audience. Lessons will need to be learned for DK’s now predictable big-screen return.