Paddington In Peru (2024)

I do try to avoid listening to too many other opinions and/or reviews before checking out films for my self, but it's sometimes very difficult, especially when it comes to a big release like Paddington In Peru (the third film in a series that has proved to be both delightful and hilarious so far). A lot of people seemed to say the same thing. This wasn't as good as the previous two films, and part of the reason for that stems from taking Paddington back out of London. I would have to agree. The joy of watching Paddington in movies has been the joy of watching him seem confused about British life while also managing to embody the kind of pride and good nature that we should all aspire to.

Having received an alarming letter about Aunt Lucy and her health, Paddington and the Brown family embark on a trip to visit her at her retirement home in Peru. Unfortunately, Aunt Lucy has disappeared by the time they get there. There are one or two clues pointing to where she might have gone, and Paddington knows that he must do whatever it takes to find her. The Brown family will help, of course, and they might also be assisted by Reverend Mother (Olivia Colman), a not-suspicious-at-all nun who keeps clarifying this by mentioning how unsuspicious things are, and a riverboat captain named Hunter Cabot (Antonio Banderas), as well as his daughter, Gina (Carla Tous). 

Dougal Wilson is now in the director's chair this time around, someone who seems to have spent a lot of time over the past two decades making music videos and short films for the likes of John Lewis and Apple (I say short films because they are sometimes a bit precious about their adverts, but they're adverts). And it's Mark Burton, Jon Foster, and James Lamont responsible for the screenplay, with the latter two having spent some time writing for Paddington in his TV adventures. Nobody does a terrible job. They're just not great. There's nothing here that comes even close to rivalling some of the set-pieces or laughs from the previous two movies, and that's a real shame.

While things are weakened by the relocation of the main characters, they're also undermined by some strange casting choices. Emily Mortimer has taken over the role of Mary Brown from Sally Hawkins. I like Emily Mortimer, and she does well in the role, but I think it's particularly odd to recast such a central character in a film aimed at younger viewers, especially when everyone else manages to return. It may lead to parents being asked a few questions as children learn about the fickle nature of scheduling and movie roles, whereas a better screenplay might have been crafted around some premise that had Mrs. Brown absent (a journey through loss and/or grief could have been an interesting parallel with the physical journey through jungle environments). Bonneville puts on his Henry Brown persona like a comfortable sweater, and he's very good, while both Madeleine Harris and Samuel Joslin portray the now-young adult Brown children. I have nothing against Harris and Joslin, but if any characters could be recast without anyone really noticing then they were the most likely candidates. It might even have made sense to keep the children at a younger age, allowing them to seem more vulnerable and ill-equipped as they joined Paddington on his Peruvian adventure. As for the titular bear, it's hard to think of anyone other than Whishaw voicing him now, which makes his return to the role essential, and every line of dialogue that he speaks is a comforting little hug. Colman is fun, if a little underused, and Banderas is also a welcome addition, and especially entertaining when he also portrays a number of his ancestors who plague him in spirit form.

It doesn't feel right to spend too much time being critical of a Paddington movie. There are good intentions throughout all of them, it's just that this time around those good intentions aren't matched by the dialogue and plotting. There's still enough here to enjoy though, especially when you get around to a speech in the finale about the idea of home, family, and being able to embrace the idea of being firmly British and being a Brown. And the end credits provide one or two delights that ensure most people will have one last chuckle.

Worth a watch, and maybe a repeat viewing will see it grow on me, but I doubt anyone will revisit it as often as either Paddington or Paddington 2. Part of me hopes, and assumes, that this is the final part of a two-thirds-brilliant trilogy. Part of me also knows that I would still be optimistic about any fourth outing for our marmalade-sandwich-loving little pal.

6/10

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Mr. Jones (2013)

Written and directed by Karl Mueller, Mr. Jones is an interesting movie that I just didn't end up liking that much. It did, however, have some decent moments here and there, and it certainly tried to do something interesting.

The basic story concerns a young couple named Scott (Jon Foster) and Penny (Sarah Jones). Scott has taken himself into the middle of some woods to work on a nature documentary, and Penny has decided to join him. As time moves on, it becomes clear that Scott isn't really getting much done. This puts a strain on their relationship. But then a distraction comes along in the shape of the mysterious Mr. Jones, an artist who has become something of a myth to those who know of him. Scott and Penny catch a glimpse of Mr. Jones, before realising who it is, and then quickly put the pieces together once they see where he lives, and spy some of his art. Scott thinks that he could change his documentary subject, but that might not be such a good idea.

While there's a lot of camerawork in Mr. Jones that will deter those who dislike "found footage" films, it's constructed in a way that lets Mueller off the hook when he wants to take a break from that particular stylistic choice. It's to his credit that the filming style changes to suit the aim of the scene without ever feeling like it's cheating.

Foster and Jones both do well, despite the fact that neither really seems strong enough to carry the movie. They work well together, which is the most important part of their performance, and at least aren't turned into caricatures of either good or bad people. This could have easily been a film about two completely innocent souls stuck in a cabin in the woods, or it could have been about two irritating people who spend a lot of time winding each other, and the audience, up. Instead, the two leads are allowed to find a middle ground. A reality, or as real as things can seem when positioned in the middle of this movie premise.

With some interesting ideas, scenes that mix jump scares with a growing atmosphere of intense dread, and general trippiness here and there, Mr. Jones feels like a crossover from the world of experimental cinema and more mainstream horror. I won't watch it again, yet it has one or two sequences that I won't forget.

Despite my disappointment with the final result, and my view of it as being a below-average movie, it wouldn't take much restructuring to turn it into something very impressive. I look forward to seeing what Karl Mueller does next. Well . . . . . . as long as it isn't a sequel to this.

4/10

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The Informers (2008)

Directed by Gregor Jordan and based on the work of Bret Easton Ellis (who helped to write the screenplay with Nicholas Jarecki), The Informers is far below other adaptations of the writer’s works (American Psycho, The Rules Of Attraction, Less Than Zero) but it’s not a terrible film.

There are a number of story strands running throughout the movie (some more entertaining and successful than others) all covering a variety of sins. There’s a debauched rock star, an unfaithful husband, a bad father, some carefree youths who keep themselves busy with sex and drugs and some other unsavoury characters. The details end up being rather inconsequential though the viewer can savour every little moment onscreen while events are unfolding, this movie feels more like a mood piece capturing a snapshot of 80s excess and exuberance on the cusp of being ruined by the encroaching harsh realities (the long-term effects of drug use, AIDS, etc). It’s very much along the same lines as The Rules Of Attraction with those involve neatly sidestepping to focus on the parents instead of the children, without audiences even noticing.

There’s a great cast. Billy Bob Thornton, Kim Basinger and Winona Ryder all hold their own in the best story strand but there’s able support from Mickey Rourke, Brad Renfro, Amber Heard (who spends an impressive amount of her time onscreen in a state of undress and, yes, yes I am shallow enough to have enjoyed the movie more because of this fact), Lou Taylor Pucci, Austin Nichols and Jon Foster.

There’s also a pretty good soundtrack accompanying the sleek visuals.

The film only really lets itself down in terms of structure and cohesion, but that’s a big failing. Ellis himself has expressed displeasure with the way the thing turned out but I think artists close to their own work can sometimes be their own harshest critics so I’ll have to repeat that The Informers is not a terrible film. It’s no modern classic, and perhaps someone else in the director’s chair could have made something better of the material, but it’s enjoyable enough and features some fine actors giving fine performances. And a hint of vampirism. And Amber Heard. Mostly naked. 
 
6/10

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