Paddington in Peru Paints by Numbers but Still Delights

Paddington in Peru is finally out this week stateside and thankfully it’s a solid enough entry in Studio Canal’s franchise. It’s directed by Dougal Wilson, who took over the reins from Paul King; King helmed the first two films and has a story credit for this third film. The script was co-written by James Lamont and Jon Foster, the duo behind Paddington’s recent animated show, and the new film’s team sticks closely to the formula of the previous two films—maybe too closely.

Ben Whishaw is back voicing Paddington Bear, who ventures to Peru on a quest to find Aunt Lucy (voiced by Imelda Staunton) after receiving news from her bear retirement home’s Reverend Mother (Olivia Colman) that she’s mysteriously wandered off into the Amazon. He’s not alone on the trip to South America; seeking one last family outing before becoming empty nesters, the Brown family also tags along. The crew includes original actors Hugh Bonneville as Mr. Brown, Madeline Harris as Judy, Samuel Joslin as Jonathan, and Julie Walters as Mrs. Bird, with Emily Mortimer taking over the role of Mrs. Brown from Sally Hawkins.

Mortimer brings a different characterization to Mrs. Brown that feels like an alternate timeline for the household; her wholesomeness and nurturing nature are much more subdued. It completely changes the family dynamic and the story being told here, which gives Mrs. Brown the subplot of dealing with Judy and Jonathan being grown up enough to move out and go to college. It’s a story that Hawkins’ more individualistic and adventurous Mrs. Brown might not have fit into (we also think Hawkins and Bonneville had a more believable couple vibe). But in some respects this helps transition the role between performers, which along with flashbacks and a new version of Paddington meeting Mrs. Brown eased us into this film. Even still, it’s gonna take some time to get used to this new Brown family.

© Sony Pictures

For a movie that takes us out of London, Paddington in Peru plays it safe for the most part. Antonio Banderas shows up as Hunter Cabot, a charismatic guide with a boat (didn’t he play this character in the last Indiana Jones?) who helps the Browns look for Aunt Lucy along the Amazon. He and his sailor daughter Gina (Carla Tous) agree to help the Browns even though for Cabot, it leads to some temptation to hunt for the gold of El Dorado—which Paddington’s origin is somehow is connected to. The El Dorado quest feels like such a Mad Libs generic trope that we weren’t sold on it at first. On top of that, the first two acts pack in a predictable series of set-ups that remix elements of the first two films, down to the villains giving the same energy as Nicole Kidman and Hugh Grant’s baddies. The journey to El Dorado ends up feeling nonsensically slapstick in ways that manage some chuckles but feel unevenly paced.

The whimsy and chaos fans have come to expect from King’s Paddington films—that he handled with perfect attention to pace—is missing until the last act, when the themes of this somewhat messy film became clearer and Peru feels like it earns its place in the franchise. There’s Mrs. Brown coping with a nest emptying, and the Cabots breaking generational curses with a light wink at the role exploration and religion have had in regards to colonization. But it’s Paddington’s journey in all the films, from not being accepted in London to going back to his country to figure out where he belongs—and Paddington in Peru cleverly addresses the xenophobic ignorance that often gets projected onto marginalized folks whose home is where they’ve arrived to. It was affirming in all the ways Paddington can be, and it made us cry. Paddington in Peru isn’t perfect, but it left us certain of one thing: we can’t wait for Paddington’s next chapters.

Paddington in Peru opens February 14.

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