It pains me greatly to tell my dear readers the following, but "The Smurfs 2" does not reach the cinematic heights reached by the first film in this storied franchise (and I'm quite certain the other attendees of the exclusive screening felt the same).
In this outing, critical darling Raja Gosnell has consciously moved away from the blend of South Korean revenge saga and Bollywood sentimentality, which so strongly epitomized "The Smurfs." Here we are presented with a deeply symbolic and nonlinear narrative with little regard for pacing (think European artistry). Thematically, this film is more akin to Terrence Malick's "Days of Heaven" than to Gosnell's own "Beverly Hills Chihuahua." To its detriment, of course.
Some of my disappointment is perhaps due to the surprise at the change of direction Gosnell has taken with our favorite little blue creatures. I feel critics will too easily dismiss the film as they were expecting something different, but unlike most film critics working today, I can put my expectations aside and judge the film objectively.
Fans of the first will be glad to hear that acting powerhouse Katy Perry makes a return to voice Smurfette. She is simply sensational and steals scene after scene. Neil Patrick Harris gives a rather subtle performance and it's perhaps a bit too quiet and nuanced. There are new additions to this all-star cast, including the wildly inconsistent and unstable Brendan Gleeson. On his day, Gleeson makes for a phenomenal extra, but he is given too big a role. His performance is entirely too physical and he simply does not possess the acting talent to carry scenes emotionally.
The plot is marginally improved over the first, as the kidnapping of Smurfette adds a dash of pathos that was sorely lacking in the first tale. The stakes are higher than ever and despite some blunders and missteps along the way, "The Smurfs 2" ultimately delivers. While many critics will undoubtedly be off-put by the abstract and heavily metaphorical direction the sequel has taken, it is clear that Gosnell has coherent and meaningful creative goals here that he successfully meets.
Additionally, the film is meticulously shot by Phil Meheux and gorgeously scored by Heitor Pereira — your eyes and ears are guaranteed to get off sexually. I sure did, and the family next to me certainly seemed to enjoy themselves as well.
In this outing, critical darling Raja Gosnell has consciously moved away from the blend of South Korean revenge saga and Bollywood sentimentality, which so strongly epitomized "The Smurfs." Here we are presented with a deeply symbolic and nonlinear narrative with little regard for pacing (think European artistry). Thematically, this film is more akin to Terrence Malick's "Days of Heaven" than to Gosnell's own "Beverly Hills Chihuahua." To its detriment, of course.
Some of my disappointment is perhaps due to the surprise at the change of direction Gosnell has taken with our favorite little blue creatures. I feel critics will too easily dismiss the film as they were expecting something different, but unlike most film critics working today, I can put my expectations aside and judge the film objectively.
Fans of the first will be glad to hear that acting powerhouse Katy Perry makes a return to voice Smurfette. She is simply sensational and steals scene after scene. Neil Patrick Harris gives a rather subtle performance and it's perhaps a bit too quiet and nuanced. There are new additions to this all-star cast, including the wildly inconsistent and unstable Brendan Gleeson. On his day, Gleeson makes for a phenomenal extra, but he is given too big a role. His performance is entirely too physical and he simply does not possess the acting talent to carry scenes emotionally.
The plot is marginally improved over the first, as the kidnapping of Smurfette adds a dash of pathos that was sorely lacking in the first tale. The stakes are higher than ever and despite some blunders and missteps along the way, "The Smurfs 2" ultimately delivers. While many critics will undoubtedly be off-put by the abstract and heavily metaphorical direction the sequel has taken, it is clear that Gosnell has coherent and meaningful creative goals here that he successfully meets.
Additionally, the film is meticulously shot by Phil Meheux and gorgeously scored by Heitor Pereira — your eyes and ears are guaranteed to get off sexually. I sure did, and the family next to me certainly seemed to enjoy themselves as well.