WHOLESOME PADDINGTON FUN,

BUT TO A LESSER DEGREE

In 2017, StudioCanal released Paddington 2, the follow-up to 2014’s beloved Paddington. Directed by Paul King, the sequel starred Ben Whishaw, Hugh Bonneville, Sally Hawkins, Brendan Gleeson, Julie Walters, and Hugh Grant. The story followed Paddington Bear as he was wrongly accused and imprisoned for a burglary he didn’t commit, prompting his adoptive family to uncover the real culprit and clear his name. Released on November 10th, 2017, Paddington 2 received widespread critical acclaim, praised for its warmth, heart, and humor. The film was also a box office success, earning approximately $227 million worldwide against a modest $40 million budget. In addition, it featured prominently on several “best of the year” and “best of the decade” lists and received three nominations at the 71st BAFTA Awards, including Outstanding British Film, Best Adapted Screenplay, and Best Supporting Actor. Now, nearly eight years later, audiences are invited to reunite with Paddington Bear and the Brown family as StudioCanal and director Dougal Wilson present Paddington in Peru. Is this third installment another delightful chapter in the marmalade-loving bear’s cinematic journey, or does it miss the mark in capturing the heart and charm that fans have come to adore?

THE STORY

Paddington Bear (Ben Whishaw) is embracing more responsibilities as a proud British citizen, having recently secured his very first passport. Life in London remains a joyful experience as he continues living with the Brown family. However, change is in the air. Mary Brown (Emily Mortimer) watches her children, Judy (Madeleine Harris) and Jonathan (Samuel Joslin), begin to grow up and chart their own paths, while her husband, Henry (Hugh Bonneville), an insurance salesman, is pushed out of his comfort zone by his adventurous new boss, Madison (Hayley Atwell). One day, Paddington receives news from Peru: his beloved Aunt Lucy (Imelda Staunton), now residing at the Home for Retired Bears, is in need of a visit. Without hesitation, Paddington and the entire Brown family set off for South America. Upon arrival, they are welcomed by the kind but enigmatic Reverend Mother (Olivia Colman)—yet Aunt Lucy is nowhere to be found. Instead, they discover a cryptic map pointing to the legendary Rumi Rock. Determined to find Aunt Lucy, Paddington and the Browns embark on a journey deep into the Amazon aboard a riverboat captained by the shady and mysterious Hunter Cabot (Antonio Banderas). As they navigate the treacherous jungle, the group uncovers clues tied to the legend of El Dorado, the mythical lost city of gold. But as their quest unfolds, suspicions grow, and it becomes clear that some among them may not be who they claim to be.

THE GOOD / THE BAD

There’s no doubt that the overwhelming praise Paddington 2 has garnered over the years isn’t just sentimental fluff, it’s practically a cinematic truth. It remains one of those rare sequels that not only expands upon its predecessor but surpasses it in nearly every way. Personally, I found the first Paddington movie to be just okay….sweet and fun, but not especially memorable. Paddington 2, however, elevated everything. It built upon the foundation of the original and delivered a carefully woven story full of heartwarming, kid-friendly fun and genuine emotional resonance.

Much of that success came from director Paul King, who infused the film with warmth, tenderness, and a clear understanding of what makes family entertainment so special. The ensemble cast was also terrific, many of the characters, even the villains, were portrayed with such humorous and loving energy that they were impossible not to enjoy. Ben Whishaw continues to be the perfect choice to voice Paddington, delivering a calm and kindhearted tone that brings the polite bear to life in the most endearing way. Altogether, Paddington 2 is one of those movies that’s nearly impossible to dislike. It not only improves upon its predecessor, but stands tall on its own merits, anchored by the series’ iconic line: “If you’re kind and polite, the world will be right.” A sentiment that, frankly, the world could use more of.

Which brings us to Paddington in Peru, the long-awaited third installment in the franchise. After the success of Paddington 2, a follow-up was inevitable. While it took some time to be officially greenlit, fans knew it was only a matter of time. However, one major shift came early: director Paul King would not be returning to helm this next chapter, as he was committed to directing Wonka. While this was a disappointing change, the silver lining was that most of the original cast was set to return, an essential element of continuity that gave fans hope.

Eventually, the movie’s marketing campaign kicked off, with trailers hitting both online and theatrical platforms. From those first glimpses, Paddington in Peru appeared to be cut from the same cloth, featuring the familiar mix of madcap adventure, playful comedy, and heartfelt moments. It looked like the kind of sequel many of us were hoping for. That said, I couldn’t shake the concern over King’s absence in the director’s chair. He still remained onboard as a producer and co-writer, but not being at the creative helm left some room for doubt.

Still, I was eager to see what this new entry had to offer when it finally arrived in U.S. theaters on February 14th, 2025 (after its earlier U.K. release in November 2024). While I did catch the film during opening weekend, a busy schedule, and the need to wrap up my backlog of 2024 movie reviews, pushed this review back a bit.

Now, with all that squared away, I’m finally ready to share my thoughts. So… what did I think? Paddington in Peru is good, charming, breezy, and full of family-friendly fun. But it doesn’t quite reach the heartfelt magic of its predecessors. It’s still very watchable and entertaining, but at times it feels a bit more middling, lacking some of the spark that made the first two films so unforgettable.

Paddington in Peru is directed by Dougal Wilson, who makes his feature-length debut with this film. With a background rooted in directing several beloved John Lewis Christmas adverts and Coldplay’s Grammy-nominated music video “Life in Technicolor II,” Wilson may seem like an unlikely choice to helm a Paddington movie. Yet, to his credit, he delivers a commendable first outing. He may not possess the same emotional finesse as Paul King, especially when it comes to hitting those deep, heartfelt moments, but Wilson does his best with the tools he’s been given, and his efforts pay off in several key areas.

One of Wilson’s strengths is maintaining the spirited tone and energy established in the first two films. The whimsical charm, gentle humor, and storybook wonder that fans associate with Paddington are all present and accounted for. In both style and tone, Paddington in Peru aligns well with its predecessors, making it a family-friendly experience that’s easily accessible to viewers of all ages. That said, it’s clear that the film will resonate more strongly with younger audiences, though older viewers can still find enjoyment in its warmth and playfulness. In that respect, this threequel is a safe and enjoyable pick for family movie night.

Narratively, Paddington in Peru delves deeper into Paddington’s origin story, a thread that has been hinted at in the previous entries. Wilson uses this opportunity to explore Paddington’s emotional journey, balancing the relationship between the family who raised him (Aunt Lucy) and the one he lives with now (the Browns). Aunt Lucy’s absence and the mystery surrounding her serve as the film’s central plot device, propelling the story into a classic “fish out of water” adventure. Taking Paddington and the Brown family from the cozy familiarity of London to the untamed jungle of Peru introduces new challenges, some heartfelt moments, and a touch of wonder. It’s not particularly groundbreaking, but for a film about a well-mannered, clumsy bear and his adoptive family, the premise works just fine.

Wilson clearly understands the foundational “blueprints” of the Paddington films and keeps the narrative aligned with the tone audiences expect. The movie is packed with kid-friendly antics, whimsical flourishes, and a colorful cast of sometimes exaggerated characters, all fitting for a film aimed squarely at the juice box crowd. While some of the humor leans into low-brow or juvenile territory, it stays on-brand and lands where it needs to. Plus, there is still plenty of heart to be. Well, maybe not as the past two endeavors, but Wilson mind is indeed in the right place when it comes showcasing such tender filled moments.

As always, the core dynamic between Paddington and the Brown family remains the beating heart of the movie. Yes, the sentimentality may border on cheesy at times, but that’s always been part of the franchise’s DNA. Wilson keeps this emotional throughline front and center, and that alone helps the movie retain its warmth and appeal.

Overall, Paddington in Peru is undeniably cute, sweet, and engaging. While it doesn’t quite reach the emotional heights or storytelling precision of the previous films, Wilson succeeds in shaping a fun, heartfelt adventure that continues the franchise in a mostly satisfying way.

From a visual standpoint, Paddington in Peru is a colorful and charming delight from start to finish. Much like the previous two films, this third installment is filled with vibrant hues and a playful aesthetic that captures the storybook quality of Paddington’s world. While it’s unlikely to garner major awards recognition for its production values, what’s presented is wonderfully bright, richly detailed, and visually inviting throughout.

The film offers a refreshing contrast in scenery, from the structured cityscape of modern-day London to the lush, untamed beauty of the Peruvian rainforest. The vibrant greens, exotic wildlife, and sun-drenched jungle environments breathe new life into the setting, creating a visually appealing backdrop for the characters’ journey. Director Dougal Wilson and his talented behind-the-scenes crew deserve credit here, including Andy Kelly (production design), Cathy Cosgrove (set decoration), Charlotte Walter and Ahmed Younes (costume design), and the entire art direction team for their efforts in building this vivid, whimsical world.

The cinematography by Erik Wilson adds an extra layer of polish, utilizing dynamic camera angles and thoughtful compositions to enhance both the action and more dramatic moments. His work keeps the visual rhythm of the film engaging, fluid, and occasionally quite striking. Lastly, the musical score, composed by Dario Marianelli, provides a lovely accompaniment to the onscreen events. With whimsical melodies and tender, understated cues, Marianelli’s composition helps elevate emotional beats and complements the overall tone of the film perfectly. It’s not overbearing, but rather supportive, just as a family film score should be.

All in all, Paddington in Peru delivers a strong technical presentation across the board, supporting its narrative with vibrant visuals, thoughtful production design, and a well-crafted musical score.

Unfortunately, Paddington in Peru doesn’t quite capture the same magnetic energy and heartfelt tenderness that made the previous two installments so special. As a result, this threequel draws fair criticism in its overall execution and narrative shaping.

So, where does it stumble? First and foremost, the film simply can’t match, or outpace, what Paddington and Paddington 2 achieved. And the biggest “elephant in the room” is undoubtedly the absence of director Paul King. King had a clear vision for what these films should be, particularly with Paddington 2, where he struck cinematic gold through his blend of whimsy, warmth, and storytelling finesse. His departure to helm Wonka left a creative gap that’s clearly felt here.

To be fair, director Dougal Wilson does a respectable job stepping into big shoes, and his efforts are admirable. However, he lacks the same level of directorial finesse and tonal balance that King so effortlessly brought to the table. From a filmmaking standpoint, Wilson tries to juggle too much at once, resulting in an uneven narrative flow. The movie often feels rushed and occasionally forced, with an overabundance of characters and storylines pulling in different directions.

There’s also an overreliance on comedy that, while family-friendly and whimsical, sometimes overshadows the emotional core and narrative focus. Humor is welcome, especially in a Paddington movie, but it shouldn’t come at the expense of plot coherence or heartfelt moments. And unfortunately, Wilson struggles to land those deeper emotional beats. While the film offers a few warm and touching scenes, they lack the gut-punch poignancy that made earlier entries so moving. The result is a film that often feels lopsided in tone and pacing, with a brisk march to the finish line that sacrifices depth for momentum.

A similar issue lies in the script itself, credited to Paul King, Simon Farnaby, Mark Burton, Jon Foster, and James Lamont. With so many voices involved, the writing suffers from the classic “too many cooks in the kitchen” dilemma. The screenplay feels a bit scattered, with a patchwork of ideas and scenes that don’t always land cleanly. Certain plotlines play out with lighthearted charm, but they fail to leave a lasting impact, and some characters end up relegated to the background with little narrative purpose beyond continuity.

Another shortcoming is the film’s setting. While the change in scenery, from London to the lush jungles of Peru, adds a splash of visual flair, it comes at a cost. The film loses much of the cozy British charm and supporting character presence that helped define the first two movies. It’s a bold creative shift, but one that doesn’t fully pay off, leaving the film feeling a bit disjointed and emotionally distant.

One final, minor criticism, though it’s worth mentioning, is the absence of the calypso group Tobago and d’Lime, who served as a delightful Greek chorus in the first two films. Their musical interludes added a unique flavor and whimsical cohesion, and while they may make a blink-and-you’ll-miss-it appearance here, their presence is sorely missed. It’s a small detail, but one that fans of the earlier entries might notice.

One of the most redeemable and endearing qualities of the Paddington films has always been the energetic ensemble of acting talent involved. The cast consistently brings enthusiasm and charm to the screen, with each actor clearly understanding the whimsical tone of the franchise. This results in a delightful array of lighthearted quirks and humor throughout. Paddington in Peru is no exception—returning cast members deliver solid performances, while new additions seamlessly fall in line with the movie’s tone. That said, some of the character writing in this installment does feel weaker than in previous entries, occasionally lacking substance or existing solely for continuity.

Leading the charge once again is Ben Whishaw as the voice of Paddington Bear. Known for his roles in No Time to Die, Mary Poppins Returns, and Perfume: The Story of a Murderer, Whishaw continues to be the perfect embodiment of Michael Bond’s beloved character. His calm, kind, and distinctly polite vocal delivery captures Paddington’s heartwarming innocence to a tee. The CGI rendering of Paddington remains one of the most expressive digital character designs in recent family cinema. While other films boast more technologically advanced effects, there’s something uniquely beautiful about how Paddington is brought to life, a blend of impressive VFX and Whishaw’s heartfelt voice work. Though Paddington’s arc in this third film isn’t quite as emotionally rich as before, highlighting a broader issue with the script, his lovable nature and knack for getting into “sticky situations” continue to shine.

Of course, the Brown family remains an integral part of the franchise, with each member getting their moment to contribute. Actor Hugh Bonneville (Downton Abbey and Notting Hill) returns as Henry Brown and delivers another strong comedic performance. Actress Madeleine Harris (Man Down and Me and Mrs. Jones) as Judy and actor Samuel Joslin (The Impossible and The Go-Between) as Jonathan also return, though their roles once again feel reduced to single-gag quirks serving more as narrative window dressing than fully developed characters.

The biggest casting change comes with the role of Mary Brown, now played by actress Emily Mortimer (Mary Poppins Returns and The New Look), replacing actress Sally Hawkins. Mortimer blends effortlessly into the ensemble and portrays Mary with warmth and energy. While it’s difficult to say whether she’s better than Hawkins, Mortimer does a fine job making the character her own. Hawkins’ legacy still lingers, but Mortimer proves to be a worthy successor.

Two returning Harry Potter alums, actress Julie Walters (Brooklyn and Mamma Mia!) as Mrs. Bird and actress Imelda Staunton (The Crown and Shakespeare in Love) as Aunt Lucy, also reprise their roles. Both bring charm and wit to their scenes, although their characters mainly serve functional or comedic roles rather than driving the narrative. Still, their presence is welcome and helps maintain continuity.

Among the newcomers, Olivia Colman (The Favourite and The Crown) steals the show as the Reverend Mother, the head of the Home for Retired Bears. Her performance balances cheerful optimism with an undercurrent of suspicious behavior, making for a hilarious and slightly mysterious character. Colman’s comedic timing and subtle nuances make her scenes consistently engaging.

Likewise, actor Antonio Banderas (Puss in Boots: The Last Wish and The Mask of Zorro) plays Hunter Cabot, a riverboat captain with shady motives. Banderas brings his usual charisma and hams it up in just the right way, though the character’s writing feels a bit muddled and clunky. While he fits into the movie’s zany world, I couldn’t help but wish his role had a bit more depth or menace. Still, Banderas’s screen presence is strong enough to make him a fun addition.

Both Colman and Banderas join the ranks of high-profile, scene-stealing guest stars seen in previous entries, following in the footsteps of Nicole Kidman, Hugh Grant, and Brendan Gleeson.

Additionally, Carla Tous (30 Coins and Cowards) appears as Gina Cabot, Hunter’s daughter. She plays the “straight man” to the surrounding chaos, grounded and sincere, but ultimately ends up feeling a bit bland. Tous does well with the material she’s given, but the character itself lacks spark.

Several familiar faces from the earlier films return in small roles: actor Jim Broadbent (Harry Potter and the Half-Blood Prince and Moulin Rouge!) as Mr. Gruber, actor Joel Fry (Game of Thrones and Cruella), actor Sanjeev Bhaskar (Yesterday and Unforgotten) as Dr. Jafri, actor Robbie Gee (Snatch and Underworld) as Mr. Barnes, actor Ben Miller (Professor T and Bridgerton) as Colonel Lancaster, actor Simon Farnaby (also a co-writer) as Barry the flight attendant, and actress Jessica Hynes (Spaced and The Royal Family) as Miss Kitts. Newcomers include Hayley Atwell (Mission: Impossible and Captain America) as Henry’s new boss, Madison; actress Aloreia Spencer (The Crown and Wild Bill) as Madison’s assistant; Amit Shah (Breathe and The Hundred-Foot Journey) as Zayden; and Ella Bruccoleri (Bridgerton and Polite Society) as a new face in the mix.

All deliver solid performances, no matter how brief their appearances may be. However, with most of the movie taking place in Peru, many of these returning London-based characters are limited to cameo-like roles. While it’s nice to see them again for continuity’s sake, their inclusion doesn’t add much beyond nostalgic callbacks.

FINAL THOUGHTS

With Aunt Lucy missing, Paddington and the entire Brown family travel to Peru to find her, only to become entangled in a jungle mystery involving unexpected villainy and a legendary search for El Dorado in Paddington in Peru. Director Dougal Wilson, in his feature-length debut, brings a slightly different flavor to the beloved franchise. While the film transplants its characters to a new environment, it admirably holds onto the heart of the series: themes of family, kindness, and staying true to oneself. The end result is a bit of a mixed bag. On the one hand, the film retains many of the charming qualities that made its predecessors so beloved, zany humor, colorful visuals, an ensemble cast full of personality, and an overall tone that remains accessible to audiences of all ages. On the other hand, Wilson’s inexperience shows in some key areas. Without Paul King’s signature emotional depth and creative grip, this third installment feels like a step down in both heart and execution. Personally, I thought Paddington in Peru was a good film. It certainly has its moments, and it carries a fair bit of the same spirit and warmth that defined the earlier entries. Yet, it lacks the same magic and poignant storytelling that made the first two movies soar. The emotional beats aren’t quite as resonant, and some of the narrative choices feel rushed or uneven. It’s still a fun, visually vibrant ride, but it doesn’t quite reach the same heights. As such, it stands as my least favorite of the three films. That said, I still give Paddington in Peru a favorable “recommended” rating. It’s an easy pick for a wholesome family movie night, especially for younger viewers who will no doubt enjoy its playful energy and cartoonish charm. And while the film’s ending does leave the door open for a potential fourth chapter, I’d only truly look forward to it if Paul King were to return at the helm. In the end, Paddington in Peru may not be as strong as what came before, but it’s still a sweet, spirited adventure that keeps the heart of Paddington alive, just in a slightly more subdued form.

3.6 out of 5 (Recommended)

The Official Website for Paddington in Peru link: HERE

Released On: February 14th, 2025

Reviewed On: June 22nd, 2025

Paddington in Peru  is 106 minutes long and is rated PG for action, mild rude humor, and some thematic elements

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