It is very good seeing Mario get the treatment he deserved in theaters after so long. Nintendo had been wary for perhaps too many years of giving up its “pet” outside of the comfort zone of video games, especially after that disastrous attempt 30 years ago, so it took time , experience and a new business approach with a partner of the caliber of Universal (as you read this, new Super Nintendo World theme parks are opening or expanding around the world) to create something worthy of the franchise and its impact on several generations of players. You had to put yours Shigeru Miyamoto co-producing a top-notch animated feature alongside Illumination’s Christopher Meledandri, and the result is a must-see for anyone who’s ever fallen in love with the mustachioed plumber, though it might be somewhat awkward for those who have never jumped with him.
The opportunity was fascinating to me because, all things considered, the Mario fantasy still retained that quirky twist, trippy which he introduced with the first installment of parallel development, Super Mario Bros, when he defined his worlds. Over time, this fantasy has been represented and developed more visually than narratively (excluding RPG spinoffs), so this movie took on the always risky responsibility of telling a fun, self-contained story, always putting those underdeveloped characters in front of this unique backdrop. that fans know only too well. It could have gone very wrong, to have Mario talk all the time like the main character that he is, at the risk of ruining some rules or personalities that we have grown accustomed to. But the truth is that they managed to make it work almost every time.
The movie Mario Bros. Does it live up to Shigeru Miyamoto’s legacy?
In this story, I really liked that the Mario and Luigi’s humble origins in Brooklyn like plumbers starting out on their own investing their life savings is so reminiscent of the best flavor of the 80s, when Nintendo itself and the gaming industry in general had to win back the masses to stay afloat. The contrast between this closer and more realistic world works (but without losing the cartoon style) and the psychedelia of Mushroom Kingdom and the rest of the scenarios that this film recreates with overwhelming beauty.
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However, from the moment the brothers leave their world, it’s best to relax and let go, as the film presses the accelerator to pick up the pace, leaving almost no respite to the action and of course injecting a overdose of nostalgia in the retina of the spectators, with an incessant string of references and jokes for the fan service. Don’t try to figure out the meaning of certain decisions or figure out why the characters can go from getting along to being terrible, because while they’re all pretty set at the start, the movie cares very little about that. There are a handful of decent interactions, but we came here to wait for the next wink or catchphrase while putting a handful of gameplay elements to good use. In fact, you won’t buy the attempt at drama that he timidly wants to sell you.
So sure, she’s a little silly in general, but I didn’t mind that much either, because the fan in me was in awe, too busy absorbing that overstimulation. It’s for better and for worse, as those with no relation or sympathy to the Mario universe may miss the humor in many of the jokes or miss the wackiest references. And although there is no canon for what has always been a traditions flexible and carefree, a few things also felt a little out of place when going through more forced resources for the movie format, like the insane Flash or the origins of the Mad Max-style Mario Kart.
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Having said that, I also think it’s good that this is above all a gift for the fans, a box perhaps too full, but precious and neat, made with respect and affection for a creation that has been running for more than 40 years . years. Where The Last of Us surprised me with a story worth watching as much as playing, where Sonic did a decent job when no one believed it would work between live-action actors, this colorful adventure feels more like a unique tribute, a celebration that has the merit of being able to please both children, parents and young grandparents, but for very specific reasons that they have shared during these decades, not because it is the best family animated film for all audiences.
And despite the fact that, like the elements mentioned above, there are others that have been reinterpreted for the occasion (mainly everything that has to do with the new version of the Kong, although it honors how it all started with the DK-Mario tandem), the features are simply fabulous. You’ll love every Blooper, Bones, Cheep-Cheep, Koopa, or Spiney on screen (yes, Bowser, they’re called Spinies), as well as every block, hill, pipe, or object. The way they are presented feels like being in an amusement park with the characters, ironically.
Speaking of Bowser, the character of Jack Black takes the cake. He’s as respectful as the rest of the main cast, he goes beyond being the only one where you see the actor being himself in every facet and expression. I don’t want to spoil some of the best moments from the Super Mario Bros. movie, but suffice it to say that they were directed and even written by Black himself. Without a doubt, it was the best casting decision and it was clearly given some freedom of interpretation. This, of course, is partly lost in the version with Spanish vocals, good as they are, so I urge long-time fans to see the original version as well.
The wake is followed by the fantastic Fishing by Anya Taylor-Joy, and for those who are offended by her strength and personality, I must recall that she forged it many years ago and especially with Super Mario Odyssey, a game that’s key to a lot of things here that I won’t spoil with spoilers either. Also, in case you haven’t noticed with all those trailers showing too much gutting two-thirds of the movie, this story was still about saving Luigi, not the damsel in distress.
Before I finish, I have to take off my red cap at the soundtrack, including original music that can take you back through 20+ games (sometimes as subtle as three elegantly placed notes at the end of a sequence), as well as a sound effects job that makes fans feel at home.
When the credits and its after scene rolled around and the theater lights came on, I looked around and saw half the movie critics still wide-eyed and grinning from ear to ear. to the other. The other half had just seen a children’s film that was perhaps too silly, without much logic or common sense, or downright intoxicated. Admittedly, they stuffed so much stuff here that the inevitable sequel is left with a lot less still unused, which will force it to go slower and deeper, but I personally enjoyed the bob-bombing and I’ll be Goodbye. I’m sure it’s one of the best movies that could be made with such amazing and expansive material, and I’m sure it’s about to become my seven-year-old son’s favorite movie for years. coming.
