PADDINGTON IN PERU – The Red Right Hand Movie Reviews [Matthew Stogdon]

Starring
Ben Whishaw
Hugh Bonneville
Emily Mortimer
Antonio Banderas
Olivia Colman

Having fully settled in London, Paddington [Whishaw] is given British citizenship. But while he couldn’t ask for more from his found home and adopted family, Paddington can’t help but notice that everyone is growing somewhat apart – mostly due to the children, Judy and Jonathan becoming older and more independent. It’s at this time that Paddington receives news from the Reverend Mother [Colman] who runs the home for retired bears in Peru, that his Aunt Lucy isn’t herself and he should visit immediately. Seeing this as an opportunity to unite the family, the Browns and Paddington set out for Peru. However, upon arrival, Aunt Lucy has gone missing, and so the family chart a course up the Amazon with enigmatic riverboat captain, Hunter Cabot [Banderas].

Before we can dive into Paddington In Peru, we need to make an unexpected detour via Wonka. If only because this third instalment sits very firmly under the long shadow of the production that took series director Paul King, and with it, some of the magic and charm that made the first two so exceptionally good. Now, that’s not to say this is a bad movie. Quite the opposite, even without King at the helm, Paddington In Peru is still more wholesome and delightful that the majority of dross that passes for family entertainment. But, despite the foreign exploits and globe-trotting adventure, the scale somehow feels diminished, the social observations less astute, and the writing more rudimentary. And the choice to desperately close on a handful of joke reruns from the first two movies stands to highlight how much they want to resurrect superior laughs and more impactful characters.

So, where does the film fall down? Could it be the acting? Well, you’d be forgiven for thinking so but that would be a mistake. Ben Whishaw is, once again, the embodiment of wholesome charm and wide-eyed innocence as Paddington. His performance is honestly flawless and continuous to carry the heart and soul of that little animated bear. And, as for the villain, Antonio Banderas offers a surprisingly layered performance, haunted by the ghosts of his ancestors in what feels like a nod to something like Kind Hearts And Coronets. And the fact he’s such a conflicted character makes him a more unique villain than simply rehashing the moustache-twirling antics of Nicole Kidman or Hugh Grant.

As for the Brown family, they’re also perfectly palatable, if a little underserved. Bonneville continues to feel like the quintessential stuffy British dad, but his children aren’t given a great deal to do. We’re told they have one real trait which is bluntly signposted, then paid off once before being pushed into the background. Although I will admit, the second Hunter Cabot arrived on the scene and introduced his teenage daughter, I was immediately concerned we’d get some intolerable forced romance between her and Jonathan Brown. But thankfully that’s sidestepped entirely, in one fo the most satisfying narrative moves. However, the one “hang on a second” moment concerns Mary Brown. For whatever reason, Sally Hawkins stepped out of the role and Emily Mortimer replaced her. Apparently this was all perfectly genial and the recast is actually incredibly fitting, but given that Mrs Brown is the genuine heart that binds the group together, her absence is noted. To reiterate, I’m not implying it’s enough to sink the film, or that Mortimer is an inferior choice, or even that younger audiences would fully notice that this was an entirely different person, but when your sequel feels a little lacklustre it’s hard not to look for what’s out of place and apportion blame.

Well, if it’s not the acting, does the film stumble on a technical level? Partly. The sound design is as crisp as ever, cinematography and direction are replete with the quirkiness we’ve come to expect, and the CGI rarely disappoints. But none of it comes together to create a sense of genuine peril. As stated earlier, despite the river rapids, the emergency plane landing, the boulders crashing through ancient cities, and all other manner of Indiana-Jones-lite fare, Paddington In Peru is very hesitant to touch on the darker elements that made the first two films so very impactful. And it’s through this hesitance to challenge the audience that we start to unpick where the real problem lies.

See, part of what made Paddington and Paddington 2 so powerful was the subtext beneath the surface. Yes, it’s about an anthropomorphic bear clumsily making his way around London, but it always has something to say. And Paddington In Peru is regrettably a little by the numbers, with writing that lacks the established complexity and nuance. Case in point, the first film was about the impact of natural disaster and opening our homes and borders to refugees. Then the second movie surprised us once again by discussing the need for reform of the prison industrial complex. And, from the trailers and marketing material, I was convinced the third instalment would cast its incredibly subtle scrutiny on something equally important and urgent: social care for the elderly. But no. It’s just a straight adventure piece. Paddington gets a letter, goes back to Peru, and then goes on a quest to find his aunt. Hijinks ensue. And while that, in and of itself is enough for an entertaining romp, it robs this movie of the very thing that made its predecessors so unforgettable and beloved.

In summary, Paddington In Peru hits all the notes you may feel you expect or want from a story like this, but the more it sits with you, the harder it will be to remember. By no means a bad movie, but absolutely an inferior one when compared to the powerhouses that came before it. In truth, the most damning thing I can say is that this movie didn’t make me cry. And if that isn’t an utter indictment, I don’t know what is.

Release Date:
08 November 2024

The Scene To Look Out For:
There’s nothing unusual about a song-and-dance routine in a film of this nature but when Paddington sends word that he’s coming to Peru, the Reverend Mother and the other nuns sing a tune about Paddington coming home. And, as a microcosm of what’s wrong in this film, it never hits those peaks. Sure, it’s moderately funny and energetic but it just unfurls in front of you and you feel obliged to politely smile and nod along while never feeling as invested as you’d like to.

Notable Characters:
**spoilers within**
On paper, Olivia Colman is the perfect inclusion to this cast. Her madcap energy and disarming comic timing make her utterly compelling as the Reverend Mother. However, much like the rest of the writing, her character is a little straightforward. Throughout the movie suspicion is thrown on the Reverend Mother’s intentions and actions. However, this is done in the most overt manner to the extent you feel they’re a red herring. But no, her arc unfolds exactly as you’d expect and the final reveal feels flat and unsatisfactory. Not because it was poorly played, but because it was so very obvious and therefore pretty unsatisfactory.

Highlighted Quote:
“Cabots don’t share!”

In A Few Words:
“An enjoyable escapade but pales in comparison to what came before.”

Total Score: 3/5

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