When The Super Mario Bros. Movie arrived in 2023, it proved that Nintendo’s most recognisable characters could thrive on the big screen without overthinking what made them beloved. Three years later, The Super Mario Galaxy Movie expands that idea with confidence. Illumination and Nintendo have swapped pipes for planets, broadened the canvas and embraced the breezy, lightly sketched storytelling that defines the games. The result is a sequel that understands its own purpose: keep things moving, keep things bright and keep the audience smiling.
The film signals its tone immediately with a charming early moment involving a tiny Luma jolting awake from a nightmare, only to realise the danger around it and mutter, “Uh‑oh, it wasn’t a dream.” It is a quick, funny beat that captures the film’s blend of cosmic scale and playful character work. The duo of Super Mario Galaxy + Super Mario Galaxy 2 have always balanced wonder with whimsy, and this opening nod shows the film is keenly aware of that heritage.
There is something fitting about this cosmic adventure arriving in the 40th anniversary year of Super Mario Bros. The series has always been about reinvention through simplicity, and the film leans into that heritage with confidence. Before the story even leaves the Mushroom Kingdom, there is a lovely moment where Mario, Luigi and Yoshi are shown tending to the kingdom in Peach’s absence. They work around a map that evokes the classic overworlds of the SNES era, with the rounded landmasses, bold colours, and simple landmarks that defined Super Mario World. It is a small touch, but it sets the tone for a film that understands the value of affectionate detail, and how Nintendo itself has carried that history through future Mario iterations. It acknowledges the past without becoming trapped by it, and it reminds long‑term fans that this series has always been about practical heroism rather than grand mythology.
The film’s humour lands early and often. Illumination’s instinct for slapstick remains sharp, and the studio continues to find ways of blending physical comedy with character‑driven charm. Yoshi, in particular, is a delight. His expressive animation and mischievous personality give the film a lively unpredictability, and his habit of swallowing anything within reach becomes a running joke that never wears thin. A simple moment where he innocently introduces himself after eating someone’s snack is delivered with such warmth that it becomes one of the film’s early highlights. The Toads also get their share of comedic beats, including a blindfolded party game that goes exactly as wrong as long-term fans might expect.
Peach’s role continues the evolution that Nintendo has been building across recent games, including Princess Peach: Showtime!. She is proactive, capable and treated with respect by the narrative. Her journey takes her to new corners of the galaxy, and the film uses her perspective to introduce a wide range of characters from across the Mario series. Fans will recognise faces from Super Mario 64, Sunshine and Galaxy and its sequel, but the film never pauses to explain them. They simply exist in the world, which is exactly how it should be. Anya Taylor Joy brings a calm authority to Peach that balances the film’s energy, and her scenes add a welcome sense of emotional grounding.
The worldbuilding is one of the film’s greatest pleasures. Each new location feels distinct, imaginative, and full of life. A neon‑lit underground bar populated by Shy Guys, Goombas, and obscure enemies from across the franchise is a particular standout. The scene is packed with visual jokes and tiny details, yet it never feels cluttered. It is a testament to Illumination’s growing confidence that the studio can now fill a frame with references without overwhelming the viewer in a way that perhaps Wreck-It Ralph did at times. The film trusts the audience to notice what they notice and move on, or come back for multiple viewings.
The action sequences show a similar level of craft. One particularly impressive set‑piece involving a treacherous gauntlet of fire bars, spike traps, and flame pipes is a highlight. The scene is energetic, inventive, and shot with a clarity that keeps the chaos readable. It also plays with perspective in a way that feels true to the games, contrasting the cinematic spectacle with a flat, retro‑styled view elsewhere. The sequence is a reminder that Illumination has become increasingly adept at staging action that feels both modern and nostalgic. In the same way, a close confines brawl between Bowser Jnr, Mario, Luigi and Yoshi in Peach’s castle is breath-taking in its swiftness, action choreography, and camera work, as well.
The cast feels more comfortable this time in general. Chris Pratt gives Mario a relaxed warmth that suits the character’s straightforward optimism, and Charlie Day continues to bring an anxious sincerity to Luigi. Their dynamic is used to great effect on numerous occasions. The humour is rife throughout, especially seen when they attempt to understand Yoshi’s backstory – which the viewer is given full sight of – only to shrug and admit defeat with a resigned, “I guess we’ll never know.” It is a small moment, but it captures the film’s playful tone and its willingness to embrace the quirks of the games.
Jack Black once again elevates Bowser with a performance that blends humour and theatrical menace. The animators clearly studied his physicality, and the result is a character who feels both larger than life and oddly vulnerable. Bowser’s attempts at self‑improvement, delivered from the confines of a tiny castle, are some of the film’s funniest scenes. His son, voiced by Jacob Tremblay, adds a lively spark that keeps the villainy from feeling repetitive. Their dynamic is played for laughs, but it also gives the film a sense of continuity with the first outing and shows a character development side that most might not have expected from King Koopa himself. Then again, perhaps singing Peaches in the first movie showed his soft underbelly slightly already…
The film’s visual identity is one of its strongest assets. Illumination leans into the dreamlike tone of the Galaxy games without feeling tied to their exact look. The lighting is rich, the environments are imaginative, and the sense of scale suits the cosmic setting. The film also experiments with different animation styles in ways that feel bold without being jarring. A mid‑film sequence involving a certain spacefaring character is presented in a hand‑drawn, angular style that stands apart from the rest of the film. It is a striking creative choice that hints at the possibilities for future Nintendo adaptations. Given Nintendo has already revealed that it’s Fox McCloud, it doesn’t really come as much of a spoiler. Whilst Shigeru Miyamoto didn’t craft Fox and his crew of Peppy Hare, Falco Lombardi, and Slippy Toad, he did produce the first Star Fox (know as StarWing in the UK, then Lylat Wars on the N64), pushing for the SFX chip to be utilised, then encouraged Rare to include Fox in early the title early on GameCube that became Star Fox Adventures, and co-directed Star Fox Zero on Wii U. It seems to be, rather like Pikmin (who are briefly seen, actually!), one that he hopes to push into stardom and this boost is just what the character and series needed.
The whole atmosphere of The Super Mario Galaxy Movie leaves a strong and positive vibe. Brian Tyler’s score builds on Koji Kondo’s classic motifs with confidence, and the delight of hearing familiar tunes is second to none. The orchestral arrangements give the film a sense of grandeur without overwhelming its quieter moments, and the soundtrack incorporates familiar themes in ways that feel organic rather than obligatory. The sound design also deserves praise. Little touches, such as the classic sound effect when landing on a Koopa, or going down a warp pipe, are used sparingly but effectively.
The film’s emotional beats are handled with a light touch, which is pleasing, since Mario games themselves have never had deep stories to source from. Here, though, extra aspects are slowly drip-fed to keep viewers going ‘Ahhh’ from time to time, rather than switching off. Peach’s uncertainty about her origins adds a gentle thread of introspection, and her bond with Rosalina brings a sense of quiet strength to the story. It also helps to flesh out backstory that will benefit all avenues of the Mario Universe in the future. The film never dwells on these moments for too long, but they give the narrative a welcome sense of heart. Mario’s desire to give Peach the perfect birthday treat is another small but effective detail, with cute teasing from Yoshi, the newcomer to the troop (as one Toad points out, almost jealously, about how he just arrived as a cute dinosaur and is now integral to the gang!), as well as from Luigi, who hopes Mario ends up dating a Princess and she has a close friend for him to meet (there’s a big clue about that in the post-credits, so do stick around for all three extra scenes!). It all adds warmth to the relationships within, yet doing it without forcing things into territory the series has never fully committed to.
The pacing is admittedly brisk, in all honesty, and watching at home when the cinema run is over will be best so you can pause and rewind to catch bits missed first time. However, the film rarely feels rushed on the whole. Each sequence has room to breathe, and the transitions between worlds are handled with clarity. The story remains simple, but simplicity has always been part of Mario’s appeal. The film understands that its job is not to complicate the mythology, but to celebrate it. It is a colourful, energetic journey that moves with the breezy rhythm of the games.
The cameos and references are plentiful, but they are integrated with care. Wart from Super Mario Bros. 2 appears in a way that feels both surprising and natural, and his brief role hints at possibilities for future films, or fans can dream of a full remake of the game formerly known as Doki Doki Panic or Super Mario USA. Other appearances from across Nintendo’s history are handled with similar restraint. They are there for fans to enjoy, but they never distract from the story. The film also includes a few clever nods to other Nintendo franchises, and while these moments are unlikely to be missed by long‑term fans, they are subtle enough not to confuse newcomers.
