Movie Review

Paddington in Peru proves there’s still magic in the lovable bear’s story

Paddington (voiced by Ben Whishaw) in Paddington in Peru.

Photo courtesy of Sony Pictures

In the recent history of children’s films, one of the most unexpected joys has come from a British bear. 2014’s Paddington and 2017’s Paddington 2 showed the charms of the unassuming — and accident-prone — Paddington (voiced by Ben Whishaw), who won the hearts of his adopted family, the Browns, as well as anyone who was fortunate enough to have seen the films.

Now, in Paddington in Peru, Paddington has been summoned back to his original home of Peru after his aunt Lucy (Imelda Staunton) goes missing from the Home for Retired Bears, led by Reverend Mother (Olivia Colman). Paddington and the Brown family - father Henry (Hugh Bonneville), mother Mary (Emily Mortimer), daughter Judy (Madeleine Harris), son Jonathan (Samuel Joslin), and grandmother Mrs. Bird (Julie Walters) - all make their way around the world to try to hunt her down.

Once there, they are aided in their quest by Hunter Cabot (Antonio Banderas), a boat captain. Cabot, who is helped by his daughter, Gina (Carla Tous), is only too eager to help after he discovers that Paddington possesses a bracelet that might reveal the location of the legendary El Dorado and its vast gold treasure. This leads to an adventure even greater than the one for which Paddington and the Browns had signed up.

The announcement of the third film was met with some trepidation since Paul King, who wrote and directed the first two films, would not be returning. Thankfully, new director Dougal Watson and a trio of writers have retained enough of the magic that made the series a success thus far. The formula isn’t all that difficult to replicate - you pair Paddington’s low-key nature and bumbling ways with the supportive Browns and a nefarious character or two - but it’s the execution that can be tricky.

Like the previous films, the power of many of the jokes come from how straightforwardly they’re told. The Britishness of most of the main characters means that they often come straight to the point, and it’s this bluntness that makes what they’re saying even funnier. The filmmakers pair this with sight gags and other elements which are also obvious, but in a very good way.

The one thing that does come up short is the details that King and his team did so well. The adventure, while entertaining, seems to lack the same whimsical specifics that made the first two films so fantastic. There are a few key reveals along the way that might have had more of an impact if they were accompanied by a little more clever storytelling.

Whishaw, as always, gives an understated performance that somehow makes Paddington even cuter. Bonneville and Mortimer (stepping in after Sally Hawkins declined to reprise her role) make a delightful pairing, and Walter is the spitfire she usually is. The addition of Colman and Banderas elevates the film even further, even if their roles are not as great as previous one-off stars like Nicole Kidman and Hugh Grant.

Paddington in Peru is the third best film in the series, but only because the first two films made it nearly impossible to measure up. With characters that keep the laughs coming and a story that’s good enough, the film has plenty to give to justify it coming back for more sequels in the future.

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Paddington in Peru is now playing in theaters.

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Movie Review

Star TV producer James L. Brooks stumbles with meandering movie Ella McCay

Photo courtesy of 20th Century Studios

Emma Mackey in Ella McCay.

The impact that writer/director/producer James L. Brooks has made on Hollywood cannot be understated. The 85-year-old created The Mary Tyler Moore Show, personally won three Oscars for Terms of Endearment, and was one of the driving forces behind The Simpsons, among many other credits. Now, 15 years after his last movie, he’s back in the directing chair with Ella McCay.

The similarly-named Emma Mackey plays Ella, a 34-year-old lieutenant governor of an unnamed state in 2008 who’s on the verge of becoming governor when Governor Bill (Albert Brooks) gets picked to be a member of the president’s Cabinet. What should be a happy time is sullied by her needy husband, Ryan (Jack Lowden), her agoraphobic brother, Casey (Spike Fearn), and her perpetually-cheating father, Eddie (Woody Harrelson).

Despite the trio of men competing to bring her down, Ella remains an unapologetic optimist, an attitude bolstered by her aunt Helen (Jamie Lee Curtis), her assistant Estelle (Julie Kavner), and her police escort, Trooper Nash (Kumail Nanjiani). The film follows her over a few days as she navigates the perils of governing, the distractions her family brings, and the expectations being thrust upon her by many different people.

Brooks, who wrote and directed the film, is all over the place with his storytelling. What at first seems to be a straightforward story about Ella and her various issues soon starts meandering into areas that, while related to Ella, don’t make the film better. Prime among them are her brother and father, who are given a relatively small amount of screentime in comparison to the importance they have in her life. This is compounded by a confounding subplot in which Casey tries to win back his girlfriend, Susan (Ayo Edebiri).

Then there’s the whole political side of the story, which never finds its focus and is stuck in the past. Though it’s never stated explicitly, Ella and Governor Bill appear to be Democrats, especially given a signature program Ella pushes to help mothers in need. But if Brooks was trying to provide an antidote to the current real world politics, he doesn’t succeed, as Ella’s full goals are never clear. He also inexplicably shows her boring her fellow lawmakers to tears, a strange trait to give the person for whom the audience is supposed to be rooting.

What saves the movie from being an all-out train wreck is the performances of Mackey and Curtis. Mackey, best known for the Netflix show Sex Education, has an assured confidence to her that keeps the character interesting and likable even when the story goes downhill. Curtis, who has tended to go over-the-top with her roles in recent years, tones it down, offering a warm place of comfort for Ella to turn to when she needs it. The two complement each other very well and are the best parts of the movie by far.

Brooks puts much more effort into his female actors, including Kavner, who, even though she serves as an unnecessary narrator, gets most of the best laugh lines in the film. Harrelson is capable of playing a great cad, but his character here isn’t fleshed out enough. Fearn is super annoying in his role, and Lowden isn’t much better, although that could be mostly due to what his character is called to do. Were it not for the always-great Brooks and Nanjiani, the movie might be devoid of good male performances.

Brooks has made many great TV shows and movies in his 60+ year career, but Ella McCay is a far cry from his best. The only positive that comes out of it is the boosting of Mackey, who proves herself capable of not only leading a film, but also elevating one that would otherwise be a slog to get through.

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Ella McCay opens in theaters on December 12.

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