Super Mario Galaxy Movie Faces Scathing Reviews Yet Retains Nintendo Charm
As the Easter break arrived, I prepared for the worst when taking my children to see the new Super Mario Galaxy movie. Critics have delivered memorably dire assessments, with The Guardian's Peter Bradshaw labeling it worse than AI and Empire describing it as a "humourless, hysterical trudge." This sequel has been vilified even more than the first Mario film, which also faced widespread disdain from film reviewers.
A Lifelong Fan's Perspective on the Film's Shortcomings
Being a lifelong Nintendo enthusiast—I literally authored a book on the company—I hoped my inner Mario-loving child might override my critical judgment, as it did with the first movie. That film struck me as perfectly acceptable, not actively offensive as critics suggested, and audience ratings often aligned with my view, highlighting a significant gap between public and professional opinions. Could this sequel truly be that much worse?
Here is the reality: it is not great. Instead of building on the already minimal plot of the first movie, it launches directly into an unrelated caper. Mario, Luigi, and Peach—now joined by Yoshi, voiced by Donald Glover in a role limited to variations of "YOSHI!"—zoom through the galaxy seeking star princess Rosalina. The film is powerfully bright and colourful, with nearly every scene featuring action-packed sequences where characters defeat Koopa-kingdom foes. However, it lacks genuine jokes, and the main comic asset from the first movie, Jack Black's portrayal of Bowser, has been disappointingly defanged.
Audience Reactions and the Film's Shallow Appeal
My children absolutely adored it, as would any Nintendo-appreciating child; this audience does not need convincing of Mario's innate appeal. Yet, I found myself less forgiving of the film's extreme shallowness this time around. The first movie at least offered a fresh Mario origin story, whereas this sequel presents nothing new. Indeed, it seems desperate to showcase familiar elements, like brief appearances of Pikmin or Birdo, in hopes of eliciting nostalgic applause while masking its blandness.
For those without affection or knowledge of the Mario universe, this film could be completely intolerable—a barrage of inconsequential events impossible to care about. However, it does not aim to introduce or explore Nintendo characters deeply; frankly, these characters lack depth, with exceptions like Link and Zelda. The movie assumes viewers already know these quirky figures, a reasonable expectation given Mario's nearly billion games sold over four decades.
Sincere Affection Amidst Exploitative Elements
The only evident humanity in this film lies in its sincere affection for the Mario universe. Dialogue and performances offer little humanity, with Seth Rogen's phoned-in Donkey Kong replaced by even more bored-sounding cameos. Yet, the creators, including many from Nintendo, care deeply about the games, ensuring details are correct—from spinning star-launchers in the Galaxy games to cute 2D sequences reminiscent of Super Mario Bros 3. There is love here if you seek it, unlike the hypnotising childslop of Cocomelon, which venerates nothing. Despite its faults, this movie cannot be accused of laziness with its source material.
Exploitation and the Fine Line of Nostalgia
What truly offends me is when companies manipulate the love we feel for video games or any art we connect with. For instance, the endless barrage of Pokémon 30th anniversary content felt like an attempt to weaponise millennial nostalgia to sell expensive Lego sets. Nintendo walks a fine line here, not afraid to mine its back catalogue, resell old products, and monetise its successful characters, but it also avoids overdoing it. The company masterfully merges play with capitalism, and the delight from its innovative games often offsets any sense of exploitation for players.
This movie, however, veered dangerously close to an advert, making me feel exploited. One character cameo embodies this: Fox McCloud from the long-dormant Star Fox series, appearing for a few scenes with no narrative reason except to advertise something. I suspect Nintendo has a Star Fox announcement pending, aiming to reintroduce younger audiences to a nearly forgotten character.
Concerns for Young Audiences and Future Hopes
As a grown adult, I recognise that little kids are easier to exploit, and this Mario movie does not respect their curiosity and intelligence like the games do. It is passive and anaesthetising, whereas the games are active and engaging. Children deserve good stories and films as much as adults—indeed, more so—and these Mario movies fall short, feeling more akin to Paw Patrol than Pixar.
Sometimes, vociferous reactions to video game adaptations from movie critics carry a whiff of cultural snobbery. Yet, even if Nintendo experts and film reviewers differ on why the Mario Galaxy movie is bad, this time we can align. I hope future Nintendo movies feel as enriching as Nintendo games for young minds, offering more depth and respect for their audience.
