Dana Terrace, formerly of Gravity Falls and the DuckTales reboot, brings us this story of an imaginative young girl.
Luz Noceda (Sarah-Nicole Robles) is a teenage girl with an affinity for fantasy stories and a lack of restraint. She gets in trouble after her imagination gets the best of her and is sent to “reality check camp” by her mother. However, along the way she sees a small owl stealing her property. She gives chase through a magical doorway and finds herself on the Boiling Isles, a magical land that is responsible for most of human mythology. The owl is revealed to belong to Eda, the Owl Lady (Wendie Malick), the most powerful witch in the land… who makes her living selling stuff she stole from the human world. Luz proves to be an expert on human “artifacts,” so she’s taken back to Eda’s home, the Owl House, and introduced to the two other occupants: Hooty the house’s sentient door knocker and King, an adorable demon (Both voiced by Alex Hirsch from Gravity Falls). After helping save Eda from local authorities, Eda agrees to make Luz her apprentice… despite the handicap that humans can’t do magic.
I’ve mentioned several times that I love Gravity Falls, even putting one of its episodes on my list of the 100 Greatest Episodes of All Time. Dana Terrace was the storyboard artist on that episode. I’ve repeatedly stated that I loved the first season of DuckTales (2017) and Dana Terrace directed six episodes of that season, including “Woo-oo,” the pilot that told me something was going to be amazing about this reboot. So, when they announced that she would be creating a show involving a number of veterans of Gravity Falls, DuckTales, and Star vs. The Forces of Evil, all great recent Disney shows, then I knew I would have to check it out. Unfortunately, A) I don’t have cable and B) the show isn’t on Disney+ yet. So, I checked out the pilot on YouTube and enjoyed it enough to merit buying the first season on Amazon. I’d say it helped that one of the first lines in the show was “My only weakness: DYING!!!!!!”
The key to this show, much like the shows that I’ve already mentioned in this review, is that even though it’s targeted mostly towards younger people (in this case, teens), the show tends to focus on generally relatable themes, mostly individualism vs. conformity. Luz is a person who doesn’t want to conform because of her love of nerd culture and Eda is a criminal because of her refusal to conform to her society’s rules on magic (and that she commits a LOT of petit theft). If you’re a nerd, or really anyone who has some kind of hobby that they’re passionate about, it’ll strike home a lot.
The dialogue is generally both charming and clever. Luz has a kind of naivety about her that makes her willing to tolerate a lot of the absurd or dark things about the Boiling Isles (such as the random skin-eating pixies) with a cheerful and sunny disposition. It allows the show to be darker than you would expect without ever really feeling that way. Eda, meanwhile, is basically Wendie Malick if she went to Hogwarts. She’s snappy, she’s fun, she can blow a hole through a large building with little effort, and she constantly has a scheme to make herself money, despite the fact that she’s a wanted criminal. King is just adorable, even though he is constantly advocating things that are morally questionable (like forcefully taking over a toddlers playground) and is a huge fan of classifying monstrous demons.
Honestly, great show, recommend it for any parents of kids between 6 and 14 as a thing you can watch with them without going insane. Also, Luz seems to be at least bi-curious, possibly making this the first Disney animated series with an LGTBQ lead… only a decade or two behind most of the other networks.
The Gold Standard of Reboots continues upholding its standard.
SUMMARY (Spoilers for Seasons 1 and 2)
Welcome back to Duckburg, where birds are people, but also sometimes are birds. Seriously the opening shot of the series was a normal seagull being shooed off by an anthropomorphic bird. The most prominent citizens are Scrooge McDuck (David Tennant) and his family members: Huey, Dewey, and Louie Duck (Danny Pudi, Ben Schwartz, Bobby Moynihan), Donald Duck (Tony Anselmo), Webby Vanderquack (Kate Micucci), Bentina Beakley (Toks Olagundoye), and Launchpad McQuack (Beck Bennett).
In season one, the Duck/McDuck family worked together to defeat Scrooge’s most dangerous adversary Magica De Spell (Catherine Tate), only for the audience (but not the characters) to find out that Donald’s Sister Della (Paget Brewster), the mother of the triplets, was still alive and stranded on the moon.
In season two, Della finally makes it home, only for the Moonlanders, led by General Lunaris (Lance Reddick) to invade Earth. He is thwarted by the Ducks, Darkwing Duck (Chris Diamantopolous), and Scrooge’s rival Flintheart Glomgold (Keith Ferguson), but it turns out that this threat has forced an even greater evil power to escalate their plans: F.O.W.L. (the Fiendish Organization for World Larceny).
Now, the Ducks have set out to locate a collection of the lost treasures of Scrooge’s idol Isabella Finch while F.O.W.L. plots to get them first.
This has been a solid three-stage development for this show. The first season was mostly about acclimating the audience to the new world of DuckTales, which, while it still resembled its 1987 counterpart, had been updated in both tone and animation style to be more in line with Disney’s new animated series like Gravity Falls or Star vs. the Forces of Evil. It also abandoned the original series’ episodic nature and instead was a serial, which allowed the show to build up Magica’s threat gradually over the series, as well as the mystery of what happened to Della.
Season two didn’t expand the adventuring, but instead doubled down on expanding the series emotionally. It showed us the backgrounds of several of the characters from the last season and recontextualized their actions, which is a great storytelling device when done well (like the Ice King in Adventure Time) and expanded on the emotional loss felt by the Duck family over Della going missing. Then, when she returns, it’s not quite the happy reunion with her kids that she’d hoped for, because they’ve spent ten years without her. While they’re fighting giant golems or robots, the show still demonstrated that Della’s return was affecting everyone emotionally and that it was a gradual process to deal with it. It also gave us a little taste of nostalgia by bringing back the Three Caballeros and Darkwing Duck, which was basically a set-up for this season.
The theme for season three is “nostalgia.” It was advertised a while ago that the third season would contain almost every character from Disney’s ‘90s afternoon lineup and so far it has delivered on it and then some. I don’t want to say who has appeared so far, but I can say that making them canon to this show bodes well for future episodes. There’s even an episode which takes place in a ‘90s sitcom, just to make sure that everyone gets a full blast of that extreme pre-financial crisis optimism that is so hard to even remember now.
It’s the fact that the show was willing to be patient with their properties that makes it work. They didn’t bring Della back in season 1, nor was it just a “she’s back, everything’s normal now” situation. Season 2 gave us Darkwing Duck in an amazing reboot, but they only used him sparingly. Similarly, Season 3 is giving us several characters, but even when they appear it’s only ancillary to the storyline. It’s not overloading us on anything, instead just making us want it more. Really, I’m impressed with the restraint.
Overall, still love the show, recommend it highly.
This review is dedicated to the amazing Timothy Omundson, who I first saw here and who almost made this film great.
Kyle Johnson (Ryan Merriman) is a high-schooler who is supernaturally lucky. His love interest Bonnie (Alexis Lopez), the head of the Heritage Committee, asks him about his family lineage. His parents, Bobby and Kathleen (Paul Kiernan, Marita Geraghty) both claim they’re from Cleveland, acting very suspiciously, and refuse to explain anything further. On the way home from basketball practice with his best friend Russell (Glenndon Chatman), he sees the symbol on his lucky coin advertising an Irish festival. He attends, meeting a strange old man (Henry Gibson), and watching a performance by Seamus McTiernan (Timothy Omundson), an irish folk dancer. He gets knocked down at the festival, but thinks nothing of it.
The next morning, Kyle finds his luck has soured, his mom has a pronounced Irish accent, and he’s shorter and uncoordinated. The day goes horribly, including Kyle almost costing his Basketball team the semi-finals. The day after that, he finds that he’s even shorter, is growing red hair, and that his lucky coin has been replaced by a fake. He goes home to find that his mother is now only a few inches tall. It turns out that she’s a leprechaun, making Kyle half leprechaun. As long as they had their coin, then all of his clan, the clan O’Reilly, could appear human.
Kyle’s mom says that the old man he saw at the fair was her father, Reilly O’Reilly, owner of a local factory. Reilly didn’t agree to his daughter marrying a human, so he had cut her off from the rest of the family. Kyle goes to meet with his grandfather, who reveals that the person who stole the coin was likely Seamus McTiernan, a Far darrig, or an evil leprechaun. Reilly, Russell, Bonnie, and the Johnsons all go to find McTiernan, who leads them on a car chase and escapes using corned beef and cabbage (it makes sense in context).
Eventually, they catch up to Seamus and Kyle gets his luck back, but Reilly is captured. Knowing a Far darrig cannot resist a bet, Kyle wagers the coin in a contest, saying he can beat Seamus at “sports.” Using his wording against him, Seamus challenges Kyle to the ancient Tailteann Games, most of which Kyle can’t physically win. Through a combination of luck and the fact that magical judges apparently like breakdancing, Kyle ties, but Seamus points out that since Kyle didn’t “beat” him, Seamus won the bet. Kyle wagers his freedom against the coin and his grandfather, saying that he can beat Seamus at basketball even without luck. Russell and Kyle are transported to the basketball finals and find themselves playing against Seamus and his crew. Kyle manages to win and, through clever wording, banishes Seamus to the shores of Lake Erie. He gets his luck back and performs an Irish dance at the heritage festival, before he and Bonnie lead the crowd in a chorus of “This Land Is Your Land.”
I selected this film, rather than Darby O’Gill and the Little People, mostly because I realized the other day that this was the first movie I saw featuring Timothy Omundson, one of the most underrated actors working today. For years, I have had the image of him shouting “I am the Saint of the Step” in my head whenever I see him, even though I’ve since seen him in better roles, because somehow he really stood out in this film despite his limited screen time and generic villain status. Also, I love his car-chase expressions.
However, what I had apparently forgotten over the years is how very dated this film was. This movie came out in early 2001 and it is an interesting combination of patriotic “rah rah, America!” and globalist “immigrants are all Americans” that didn’t exactly continue after 9/11. Much of the film is about celebrating heritage while also celebrating America as the Land of Opportunity. Both Bonnie and Kyle make speeches about it, and not much is said about some of the downsides of America, aside from that “things used to be rough for immigrants.” At one point, in a moment that I had completely forgotten, Bonnie says that when they got here they Irish were paid far less than their labor is worth, only for Russell, an African-American, to say “AT LEAST THEY GOT PAID,” which is summarily ignored in favor of talking about the beauty of the American Dream. Like I said, it represents the last months of a distinct time period.
I don’t know whether or not this movie is offensive to Irish people, since I’m only of Irish descent, but I admit that it’s a little weird that the film indicates that accents, dancing, and flute playing are genetic. I guess that might only be for Leprechauns, though. That is also among the long list of things that turn out to be quite odd and yet completely accepted by the characters. For example, while Leprechauns exist, we don’t really get an idea that they have any magical powers beyond “lucky” only for us to quickly be shown that at least Seamus is capable of all sorts of insane magics. Despite how sudden the reveal that “oh, hey, Leprechauns have magic” is, not a single character really responds by asking if Kyle has any powers. If the O’Reilly Clan’s sole benefit is that they’re lucky, that’s not bad, but I feel like they only touched the surface of this mythology. They did, however, get that the fae love wordplay and will always honor a deal to the letter, not the spirit.
However, the performances in the movie manage to make it charming despite the seemingly meandering plot. Ryan Merriman gave a solid performance in both this and Smart House, even though his character tends to be a little forgettable. Henry Gibson is just naturally hilarious from his years on Laugh-in and he had previously played a leprechaun on Bewitched. Then there’s Omundson. Despite the fact that his lines are nothing short of terrible at many points, he delivers them so sincerely that they come off as just a megalomaniac who genuinely believes he’s infallible. It helps that when Merriman or Gibson or Chatman says something extremely unusual in response, Omundson genuinely looks confused or annoyed by it. Acting is reacting, people.
Overall, I still have a soft spot for this movie. If you have Disney+, give it a try.
Disney finally gave us the Star Wars side story that we secretly always wanted and I’m pretty happy about it.
SUMMARY (Spoiler-Free if you have the internet)
It’s 5 years after Return of the Jedi and most of the Galaxy’s collective sh*t is pretty broken. A lot of soldiers are now working as private armies, a lot of formerly powerful Imperials are trying to resist the new Republic, and bounty hunting is a viable business model.
The Mandalorian (Pedro Pascal) is a bounty hunter who operates alone and tends to be fairly brutal in combat. His bounty hunting guild leader Greef Karga (Carl “Apollo” Weathers) informs him that there is a client (Werner “Holy sh*t, Werner Herzog” Herzog) with a special bounty request. When the bounty price is revealed to be a cache of Beskar steel, sacred to Mandalorians, the Mandalorian agrees. After gaining the assistance of a vapor farmer named Kuill (Nick Nolte) and a robot bounty hunter IG-11 (Taika “What Waititi Do in the Shadows” Waititi), he succeeds in finding the target, but discovers that it is a child from the same species as Yoda. Having a change of heart, the Mandalorian goes on the run with The Child, earning enemies everywhere.
Let’s get it out of the way: Baby Yoda is about the cutest damned thing out there. It’s what happens when someone looks at baby Groot and goes “I’ll top this.” Is it bad writing to have a character whose main trait is just that he’s adorable? Maybe, but also HE’S SO ADORABLE YOU GUYS. Also, I think they’re going to name the child Yoda just so that, in retrospect, everyone isn’t wrong about what they call him.
Star Wars has had a lot of great stuff and a lot of crap over the years, but mostly it’s created an amazing world that manages to combine the possibilities of almost every frontier. Any scene can take place, justifiably, in almost any environment. You can have a representation of a futuristic armada intercut with a sequence of desert survival and nothing about that is inconsistent with the Star Wars universe. That means that, in Star Wars, you can imagine almost any background for a character or culture and it will still fit. Star Wars doesn’t stifle the imagination, it feeds it. That’s why it’s so great to get a show like this, where we just see a completely different story playing out parallel to the rest of the series.
While Star Wars was based on the old Buck Rogers serials and their sci-fi action/adventure roots mixed with Japanese jidaigeki films (mostly The Hidden Fortress), The Mandalorian is its own melting pot of genres. The main character is based on the Man with No Name figure typically associated with Clint Eastwood, a taciturn gunslinger who travels alone and has his own code of ethics. However, once he becomes attached to The Child, the series shifts slightly to be more like Lone Wolf and Cub, the famous Samurai manga and film series about a father doing horrible killings to protect his son. By blending the Western and Eastern influences with the sci-fi and fantasy setting, the show can justify making episode-specific genre shifts. This means that rather than having to focus on maintaining a consistent tone, the series allowed the writers and directors to explore more when they had control while still being true to the characters. For example, we have a heist episode that ends up also playing out a number of horror tropes and it still works.
The action sequences in the show are among the best in the Star Wars universe, partially because there are more people with guns and fewer space wizards. Not that I don’t love a good lightsaber battle as much as the next guy, but that’s been the majority of sustained action sequences in the franchise. Instead, we get to watch a bounty hunter use a combination of fantastic weaponry, tactical planning, and training to take out small armies of enemies. Hell, we get to see a single person fight a TIE fighter and, well, it’s everything that Star Wars videogames told me it would be.
Overall, this is just a great show. Does it have a huge character arc for the main character? Not really. Does it have a ton of lines that are profoundly quotable and meaningful? Nope. Does it teach me things about myself that I would never have found otherwise? Not at all. BUT IT’S JUST SO FUN. It’s got a space cowboy kicking ass to protect the cutest creature in TV history, a phrase that also describes Firefly, and that’s all I wanted out of it.
Darkwing Duck, the terror that flaps in the night, is getting a dark and gritty reboot that no one asked for… especially not Darkwing Duck.
This is your spoiler warning. This episode is on Amazon right now. Spend the 2 dollars. It’s worth it.
Within the reboot of DuckTales, Darkwing Duck is a television show from the 90s which starred a stuntman named Jim Starling (Original Darkwing voice Jim Cummings), famous for doing all his own stunts. Most of the world appears not to remember the series, but Launchpad McQuack (Beck Bennett) is a huge fan of the character. His passion is so great that it tends to infect others with an affection for the show. It’s also mentioned repeatedly that the show ended on a cliffhanger.
Jim Starling, the former Darkwing Duck star, is signing autographs. Launchpad, along with another nameless die-hard Darkwing fan (Chris Diamantopoulos) tries to get an autograph, aided by Dewey Duck (Ben Schwartz), but keeps fainting from nerves. When Dewey tries to tag the pair in a photo, he discovers that Darkwing Duck is trending online, because they’re making a movie of the series. Believing that he’s naturally going to be asked to reprise the role, Starling heads to the studio making the movie, which happens to be McDuck Studios owned by Scrooge McDuck (David Tennant).
Scrooge and the director of the Darkwing Duck film, Alistair Boorswan (Edgar Freaking Wright!!!), are having creative issues. When Louie, Launchpad, and Starling bust into the meeting, they’re shown the trailer, which portrays it as a grim and gritty reboot which satirizes a number of terrible superhero movies. Everyone agrees that this movie is terrible, including Scrooge, who puts Dewey in charge of directing the finale of the film. Starling is willing to be in it anyway, only to be surprised when the fan from earlier is introduced as the actor now playing Darkwing Duck in the movie. Starling attacks him, resulting in his and Launchpad’s expulsion from the studio. Starling talks Launchpad into helping him get back in so they can get him in the movie, with Launchpad trying to lock the new actor in his trailer. They fight briefly, but it’s revealed that the actor was inspired his entire life by Darkwing Duck and, while he knows the movie’s bad, wants nothing more than to try and help give another generation of kids the same hero he had. He and Launchpad quickly become best friends. The actor tries to confront Starling and suggests they work together to make the movie great, but Starling refuses to let anyone else be Darkwing Duck. He locks the actor in a closet and goes on set to film the finale.
When told that Darkwing surrenders in the last scene, Starling refuses to follow commands and instead starts wrecking the props, before grabbing the fully functional lightning gun that the film’s villain Megavolt (Keith Ferguson) was using and attacking the crew. The actor, now dressed in his Darkwing Duck costume, shows up to stop him. The two fight, with Starling growing increasingly more insane and villainous, until finally Launchpad tries to convince them to stop. A prop starts to collapse, and after the actor tries to save him, Starling jumps in and saves them both, sacrificing himself.
While the final fight was filmed, it’s revealed that Dewey recorded over it with a video of himself dancing. Scrooge declares that there will never be a Darkwing Duck movie. The actor is saddened that he can’t bring Darkwing Duck to a new generation, but Launchpad tells him he should just do it for real. The actor, revealed to be none other than Drake Mallard, agrees to give it a shot. Unbeknownst to the rest of the cast, it’s revealed that Jim Starling survived the explosion, but now is insane, with the colors being washed out of his costume to reveal that he is now Darkwing’s arch-nemesis: NEGADUCK.
When I first reviewed DuckTales, I mentioned that I consider it one of the more successful reboots I’ve ever seen. It takes everything that was good about the original, adds in some more source and expanded universe material, but also updates, enhances, expands, and, let’s be honest, sometimes corrects the source material (particularly some of the female characters). It strikes the perfect balance between nostalgia and originality, while also being clever and funny. This episode exemplifies that balance even better than the rest of the series.
The concept of Darkwing Duck as a show within the show was an interesting way to reintroduce the character, though it seemed like it mostly closed the door on the actual character ever appearing in the series. However, it seems like, in retrospect, much of this was a carefully planned build-up to this episode. When the original surprise announcement that Darkwing Duck would appear in the new series was made, one of the producers, Frank Angones (who is the best at Twitter), mentioned that it was difficult to introduce Darkwing Duck, because once you put Darkwing in an episode, he just naturally becomes the focus. Despite, or perhaps because of this, they put relatively little of Darkwing Duck in the first season, limiting it to a single scene in a cold open, a fun gag about the catchy closing theme song to the show, and a bobblehead that said “let’s get dangerous.” It was extremely restrained, making this episode even more impactful.
The brilliance of this episode is that it is a reboot of a character within a reboot of a series and the episode is a parody of bad reboots. The most obvious part is the “trailer” for the film, which contains explicit references to the gratuitous slo-mo pearls falling from Batman v. Superman as well as the strange flaming letters scene from Daredevil, both of which have been mocked by everyone who has seen the films. The movie that Alistair Boorswan is making is dark and desaturated, much like Batman v. Superman, and Boorswan’s primary concern is conveying his dark and edgy “study of man’s inhumanity towards man.” Boorswan doesn’t actually care about what made Darkwing Duck good, only about his “artistic vision.” He also dislikes even presenting a heroic character as heroic, thinking that making someone darker and more morally compromised makes them automatically better. I’m not saying that’s a shot at DC films, except that of course I’m saying that. Meanwhile, Scrooge himself is a parody of studio interference in film, being so out of touch that he admits he didn’t see a movie since 1938 and says that “color’s all the rage nowadays.” He then gives the movie to Dewey, who tries to insert a musical number just because he likes it.
The core to this episode, though, is Drake Mallard. In the original series, Darkwing Duck was a hero because he wanted to be one. Sure, he wasn’t perfect, often egotistical, fame-hungry, histrionic, and sometimes just flat-out selfish, but he did have a strong moral center and a desire to be a hero. In this series, Drake Mallard is a hero because he wants to give children something to look up to, the way that he looked up to Darkwing Duck. This is the strongest rebuttal to the type of movie that this episode was satirizing: A movie where the heroes aren’t really heroic. This version of Darkwing wants to inspire the good in the world, rather than just combat the bad, like the well-written versions of Superman, Captain America, Spider-Man, or even Batman. These heroes are supposed to show us what we can do if we believe in fighting for justice and they’re not tied to a person but to an ideal because people fail, ideals don’t. This isn’t a new concept – hell, it’s one of the books of Plato’s Republic – but that’s why even if we have the “grittier, more realistic” heroes, it’s still important to have heroes out there who are focused on inspiring and presenting a better version of the world to fight for. Real heroes make us want to be better.
Just a few more notes: Much like in Into the Spiderverse, the focus in this episode is on the hero always getting back up when they get knocked down. It’s genuinely moving to watch Drake continue to take a hilarious beating and keep fighting to protect everyone, and that’s one of the few things that anyone can relate to: the desire to just fight one more time for what’s right. It’s also appropriate that this would happen in a show featuring David Tennant, a man famous for being such a superfan of a character that inspired him that he grew up to be one of, if not THE, best versions of that character. If you don’t know what character I mean, please read this.
Overall, I loved this episode, if that’s not obvious. I think it gave us a bunch of solid gags, the set-up to a whole bunch of potential storylines and maybe even a spin-off, and it reminded me of why I love some superheroes over others. Plus, it got me to re-read part of the Republic, so that’s fun.
Mary Poppins returns (surprise!) to deal with another generation of the Banks family.
It’s the 1930s in Britain and Michael Banks (Ben Whishaw), the prank-loving boy from the original film, is all grown up with three children of his own: Annabel, John, and Georgie (Pixie Davies, Nathanael Saleh, Joel Dawson). He’s recently lost his wife and, while his sister Jane (Emily Mortimer) tries to help him, it’s revealed that he’s deeply in debt and in danger of losing his home to the very bank that he and his father worked at, Fidelity Fiduciary Bank, headed up by William “Weatherall” Wilkins (Colin Firth). Fortunately, his household receives a visit from Mary Poppins (Emily Blunt) and Bert’s (Dick Van Dyke) apprentice Jack (Lin-Manuel Miranda) to help get the family through this trying time with magic, music, and the occasional strange relative.
Mary Poppins is a hard movie not to love. The songs are so catchy that I bet you can hum two right now, the animation was unbelievable for its time, the performances by Julie Andrews, Dick Van Dyke, and David Tomlinson are all so defined that they’ve basically become archetypes since the 60s, and the style and tone of the movie are the epitome of whimsy. It’s got a rare 100% Fresh rating on Rotten Tomatoes and is an example of a movie where even the imperfect things (e.g. Dick Van Dyke’s Fake Accent) only served to make it more unique and enjoyable. This pretty much doomed any sequel from the beginning, because it’s so hard to follow something that had this many solid elements blended together perfectly.
Mary Poppins Returns is destined to divide. Reading a sample of the reviews right now, it seems like that’s a lot of what it’s doing. Honestly, it’s to its credit that it can even do that. This film manages to try to avert most of what makes a sequel terrible, but also manages to commit two of the biggest sequel mistakes. But, I’m getting ahead of myself.
Emily Blunt takes over as Mary Poppins and she is wonderful. She’s clever, she’s mischievous, she can be very proper when she needs to be, but, mostly, she’s different enough from Julie Andrews’ portrayal that it doesn’t feel like she’s trying to copy what we’ve already seen while still being similar enough to believably be the same character. She’s a little more explicitly magical in this and smiles a lot more, but it still feels like it’s just the same character handling slightly different circumstances. The only time in the film where I thought “this is not Mary Poppins” is when she performs the song “A Cover is Not the Book.” It’s not that the song is bad, in fact I think it’s one of the more original songs within the film, but she performs it in the style of a Vaudeville Music Hall, something that, while appropriate for the time period of the movie, seems like something I could NEVER imagine Julie Andrews doing as Poppins. Other than that, though, she nails it.
Similarly, Lin-Manuel Miranda’s performance as Jack is similar enough to Dick Van Dyke as Bert to complement Mary Poppins’ character, but it still is distinctly different. Bert and Mary seemed to have a history and a mostly unspoken level of attraction, whereas Jack is more akin to a fanboy finally meeting his idol, but in a good way. Jack’s style of performance is also different, favoring more song and dance over Bert’s physical comedy, and it works.
Another big change is the children. In contrast to the disobedient Jane and Michael Banks of the original, the three children we are show in this film are well-behaved and, for the most part, are almost more adult than the adults. They’ve been forced to grow up based on the fact that they’ve lost their mother and their father is more of an artist than an earner. So, unlike the original where Mary has to straighten out the Banks children while loosening up their father, she’s doing the opposite in this and it does play well for Blunt to be a little less uptight than Andrews was in her version.
But, now, we get to the problems of the movie: First, the plot is much more serious. It’s a sequel, so there’s always a tendency to try and raise the stakes, but in this we have the quest to save the Banks home which doesn’t quite gel with most of the scenes. It’s not like there are multiple side-stories that feed into the overall narrative like in the original, this feels like they had 2 ideas for a movie and just jammed them in together. It doesn’t quite work. Also, not only is Michael’s wife dead, but so are Mr. and Mrs. Banks? It’s only been 25 years, people, and they were both in their 30s in the original! Hell, the actress who played Mrs. Banks, Glynis Johns, is still alive in real life. Just saying, it felt like they intentionally shrank the family so the plot felt more dire.
Second, the film has a lot of plot “twinning” with the original, by which I mean that there are a lot of scenes in this that clearly were put in less because they needed to be in the film, but more because they called back to a scene in the original. It’s another common sin of sequels: Trying to do the same thing over again. Sure, the characters feel a little different, but some of the scenes are very clearly just in there to match stuff from the original.
Third, some of the new characters don’t feel “whimsical” as much as “weird.” In the original, all of the magical characters, like the band that plays “Supercalifragilisticexpialidocious” (btw, got it in 1 try) and Uncle Albert, the man on the ceiling, and even the chimney sweeps, all feel like they’re magical characters straight out of a fairy tale. In this… not quite as much. They all have a little too much darkness and reflection to them. A stand-out example of not quite working as well is, sadly, Meryl Streep’s character of Topsy, the upside-down fixer-upper. It’s not that Meryl Streep does anything wrong, it’s that the character needed to be performed by someone who has no intrinsic gravitas, which is the opposite of Meryl “I have 4 Oscars for drama” Streep. She’s great in comedies and portrays the character exactly as it was probably envisioned, but this just wasn’t the right fit. Also, her song is not great, which brings me to…
Fourth, the music is only okay. There are like 3 really good songs in this movie, but, of those three, only one doesn’t blatantly sample from the original Sherman Brothers music. I don’t mean to undercut Marc Shaiman and Scott Wittman, because they’ve both done great work (Hairspray), but they didn’t come close to matching the Sherman Brothers’ level of quality from the original. “The Perfect Nanny,” “A Spoonful of Sugar,” “Jolly Holiday,” “Supercalifragilisticexpialidocious,” “I Love to Laugh,” “Feed the Birds,” Chim Chim Cher-ee,” “Step in Time,” and “Let’s Go Fly A Kite.” I can sing most of every line of these songs at almost any point in my life. I only saw Mary Poppins Returns last night and I can only remember 3 songs well. The sequel’s music just isn’t in the same league. It’s like Chumawumba trying to outsell the Beatles; it’s not that they’re bad, it’s that they were never really competing.
All four of these problems come not necessarily from the movie itself, but from the nature of making a sequel. If you try to completely ignore the previous movie, then you’re not paying the proper respect. If you don’t do enough on your own, then you feel like there was no point in making the sequel. That’s why it’s so hard to continue a story that’s complete. Sure, Godfather II, Aliens, and Terminator 2 all work great, but that’s because they’re either A) telling the rest of the story that was still going, B) switching genres, or C) doing a little bit of both in an inventive way. This film tries to tell the rest of the story and add some genre switch (romantic subplot and central villain), but it just never quite pulled away from the original enough. Again, it’s tough to do.
Overall, I do want to say that I enjoyed the movie even if it’s not the lightning in a bottle that the original represented. It’s definitely a movie that everyone should see, if only to make up their mind on whether it’s good or bad.