Finding all the stars, capturing every coin and having fun along the way, Nintendo find a plain cinematic version of the video game icon while fan servicing their way into the hearts of franchise fans. And I am one of them.
4/5 starsI was seven when my parents bought me my first home video game console. I forget why a Nintendo Wii suddenly appeared in my life, maybe a birthday or a Christmas gift, but the beauty of the motion control machine was that, for the most part of its early sales, it came bundled with Wii Sports. The sports compilation game was enough fun to entertain my young mind for months, but eventually, I needed something more than getting beaten over the head by boxing’s final boss – Matt.
Super Mario Galaxy, the third 3D Mario game that saw the moustachioed Mushroom Kingdom plumber venture into space blew my mind. Up until then, my gaming experience consisted of Game Boy Advance platformers and Connect 4, so everything about the unique and intuitive game gripped my youth. It was detailed, fun, energetic and targeted at kids while appealing to older audiences through well-deserved nostalgia.
In a way, The Super Mario Bros Movie does just that. Primarily, it serves a simple story. One that ties in Mario’s dissonant lore with a three-act structure that follows the franchise’s usual premise of Mario (Chris Pratt) saving someone. This time, younger bro Luigi (Charlie Day) has been captured by Bowser (Jack Black) instead of Princess Peach (Anya Taylor-Joy) after the overalled brothers are sucked from Brooklyn to the Mushroom Kingdom (obviously via a green pipe).
I did not have faith in the film when I entered the cinema, but from the moment animation house Illumination’s (Despicable Me, Sing) opening credit scene saw a minion mistiming a Mario Kart start boost, I fell hook, line and sinker. I would not call myself a fan of the yellow nuisances but hearing those sound effects rippled through me with childlike excitement. I felt eight again, Wii remote in both hands as Lakitu counted down the start of the race at the entrance of Coconut Mall.
That feeling stayed throughout the entire film as carefully planned details flourished in the smooth and signature animation while the soundtrack’s seamlessly planted motifs honoured the source material. When Mario and Luigi find the green pipe in Brooklyn’s sewers, the game’s spooky underground theme is threaded into the orchestral mood. Or, as Mario battles Bowser and the Koopa army, he uses moves that I have inputted in the past – such as the Bowser throw from Super Mario 64. Illumination even squeeze in a naturally-fitting flashback to baby Mario and co.
Something I thought I would not budge on was the ridiculous cast. Hearing Pratt’s voice emanating from Mario’s mouth in the trailer was alienating, but somehow, in context of the film, I could not recognise him. He is Mario, Day is Luigi, and Taylor-Joy is Peach, but the biggest surprise is Black’s Bowser.
Bringing dimensions to the fire-breathing villain, Black adds an easy and genuine humour to the big bad as he yearns to impress Princess Peach. Black also brings his Tenacious D talent, singing a yearning piano ballad where he repeats the princess’s name in passion; a less-explored side of Bowser that fits his persona like a clawed glove.
As the ADHD-paced film rushes through scenes like a speed runner trying to hit a world record run, I realised that I was one of the few people in the cinema losing my mind every other shot. Yes, there are some questionable choices – such as shoving Take on Me over a Mario Kart montage – but I wasn’t just watching a good Mario movie, but the best kid film I have seen in some time.
But I am a Mario fan. I pointed, and ogled, and gasped, and jumped around in my seat when the eel from Mario 64’s Jolly Roger Bay jumped out of the sea, or when a Galaxy Luma cameoed in a joyfully pessimistic fashion, and most notably when the DK rap introduced the barrel thrower. Most of the people sitting around me were bored parents with entertained kids, most of which born after the Nintendo Switch released in 2017. They would have loved it either way.
One day, they might play Super Mario Sunshine or Super Mario Bros 2 and understand how Nintendo was able to create such a truthful but standalone adaptation. I could have never imagined a world in which I walked out of that theatre buzzing from a narrative Mario movie, yet, days later, I am still gushing over it. I might even revisit the games, maybe I missed something.