Let me say this in absolutely no uncertain terms and with complete, unshakable confidence: Paddington Bear is probably the best thing to ever happen to the world of fiction. Is this sentiment hyperbolic? It certainly is. Is it also profoundly true? Absolutely, and I will stand by this idea with all my might. Paul King, in 2014, took a beloved figure from the childhoods of many, and reinvigorated a classical talking bear into one of the adorable characters to appear on screen in years, handling the character and his idiosyncratic charms with utmost care and respect, and deftly avoiding betraying the qualities that made Paddington Bear one of the most enduring literary figures in all of children’s literature. I recently raved like an enamored lunatic about Paddington, finding it to be one of the most delightfully endearing films of the past few years, a sensitive and charming family comedy with an overabundance of heart that never wavers from its soulful delights. Naturally, I could not wait any longer before I delved into the second film, which is not only one of the finest sequels ever made, but also a film that is even better than the original, and manages to be a definitive masterpiece, an almost perfect film that can be enjoyed by nearly everyone, with its sweet, endearing spirit being captivating to even the most hardened of cynics. Paddington 2 not only does the impossible by improving upon its predecessor (a film that didn’t even need any improvement, but somehow the sequel made it even better), but also proves its brilliance as one of the finest films of its kind, an endlessly jolly, lovable little film that takes the audience on a thrilling, heart-warming and unquestionably hilarious journey through the comical misadventures of our protagonist, the adorable and unwaveringly delightful Paddington Brown, as he infiltrates the often-cynical world with cheerfully good intentions and lovable joy.

Paddington 2 takes place a while after the events of the previous film, and our titular hero (Ben Whishaw) has now become a proper member of the Brown family, and is a welcome presence in his community, making friends with nearly everyone through his happy disposition, unwavering manners and his adorable joyfulness towards the world. He sees the best in everyone and brightens up the day of all who encounter him. In a few days, Paddington’s Aunt Lucy (Imelda Staunton) will be turning 100 (a remarkable milestone for a bear, according to our hero), and Paddington decides such an occasion deserves a special gift that he will send to her at the Home for Retired Bears in Peru. He finds the perfect present – a rare pop-up book of London that will hopefully make Aunt Lucy feel like she is in London herself, a place she had always longed to go, and would eventually send her beloved Paddington for his own safety. However, someone else has his eyes set on the book – Phoenix Buchanan (Hugh Grant), a pompous actor whose finest days of the West End stage are behind him. Knowing the value of the book, and understanding that it serves to be a key to a large fortune, Phoenix steals the book and goes on his own villainous adventure through London to unlock the clues that will lead him to a centuries-old set of riches that will allow him to finally return to his status as a respected thespian, rather than a peddler of dog food, as he has come to be recently known. Meanwhile, Buchanan frames Paddington, which results – believe it or not – in the polite little bear being sent to prison. However, despite being incarcerated, he manages to spread his infectious love and good cheer to Britain’s most hardened criminals, particularly the ruthlessly tough prison chef Knuckles McGinty (Brendan Gleeson), who even buckles to the quirky charms of our titular protagonist. Meanwhile, the Brown family do their best to find out who the actual thief was, in order to clear Paddington’s name and get him out of prison, the last place someone like him belongs. Strange and wonderful adventures naturally ensue.

I praised the cast of Paddington heavily in the review for the previous film, but I would be making a grave mistake if I didn’t once again note the absolute brilliance present in the ensemble returning for the sequel. Ben Whishaw is once again astonishing as the titular character, conveying such genuine warmth through his vocal performance, extending far beyond simply lending his voice to this character – a lot of why Paddington is such a darling character is his charming politeness and general affability, much of which is presented through what he says. Praising a vocal performance sometimes feels like an attempt at praising someone for doing very little, but for those who have seen Whishaw’s interpretation of the character, you’ll understand precisely what I mean – the simplicity of his performance, with the understated geniality that he manages to project through his performance extends far beyond simply being the voice of a character – it is inhabiting this character, imbuing him with infectious charm and making him memorable. I cannot praise Whishaw enough for this splendid performance, and the emotional range he manages to exude is remarkable, and I maintain that if you’re going to make a film about a talking bear, you might as well make him as charismatic and adorable as possible in as many ways as you can. Hugh Bonneville and Sally Hawkins are as wonderful as they were in the previous film, playing Henry and Mary Brown, respectively, who take on the position of his de facto parents in his new home of London. Good-natured and lovely, their performances may not be as distinctive as others in this film, but they are reliable and do exactly what is required of them, as are Samuel Joslin and Madeleine Harris, who return to play Jonathan and Judy, Paddington’s adopted siblings, and while they aren’t as pivotal to the storyline as they were in the previous film, they are still excellent. There are some delightful moments from Dame Julie Walters, Peter Capaldi, and Jim Broadbent, reprising their scene-stealing turns from Paddington, and while they do not take center stage, their presences are warm and a welcome addition to a wonderful film such as this.

Paddington 2 also features some performances from actors making their first appearance in the world of our lovable protagonist, two in particular being of note. Brendan Gleeson, who is most certainly one of the most consistently-wonderful character actors working today, has a great role as Knuckles, the hardened, cynical and perhaps a tad violent prison chef who Paddington manages to soften, quite charmingly through marmalade. Gleeson does what he does best – playing a character who is tough and impenetrable on the surface, but vulnerable and sensitive under his stern exterior. Perhaps it is my own bias playing a part (I’ve mentioned my fondness for Gleeson and his impressive talents on multiple occasions), but Paddington 2 brought out a new side to Gleeson, allowing him to portray a playful character, and he excels at making a violent criminal seem endearing, particularly in the film’s climax, where he becomes an unconventional, unexpected hero. The other performance worth noting, perhaps most importantly of all, is that of Hugh Grant, who is an actor I have always found likable, but never been particularly drawn towards, finding his charming persona affable but unremarkable in most films. Paddington 2, however, gives Grant what I consider to be possibly his finest performance to date, or at least his most entertaining – he has certainly given more typically complex and nuanced performances, but what he did here was almost revolutionary for Grant’s career, a doubtlessly odd but whimsical portrayal of a larger-than-life character, trading in the genial charm for pompous arrogance and self-entitlement. His performance as Phoenix Buchanan was terrific, and his dedication to this role was nothing short of astonishing, as he managed to take an already flawless film and make it even better. His character is an endlessly likable villain, and not only because of the way it is written, but because of Grant’s relentless commitment to the role. I cannot imagine a situation where whoever played this role would not have had a spectacularly good time, as it allows for eccentric over-abundance in terms of style, allowing Grant to don multiple costumes and genuinely just have a pleasant time playing this character, and it shows throughout the performance. Grant’s performance is more than just the delightfully-malignant antagonist in a family film – it is a work of comedic genius, with Grant’s offbeat and outlandish performance being absolutely astounding. If there was any further proof needed that Grant is a spellbinding talent, then Paddington 2 provides just that. Even if Grant is gloriously excessive with this performance, his genuine fondness in portraying this character is as infectious as the film itself. Truly a tremendous performance, and just another reason why Paddington 2 is nothing short of a masterpiece because it features a cast as enamored with working on the film as the audience is viewing it.

What is it that makes Paddington 2 such a terrific film, and separates it from other films of its kind? Perhaps it is the fact that it understands its lovable absurdity, and rather than rationalizing it and trying to make sense of it, it embraces its quaint eccentricity and looks upon the story with affection and palpable fondness. Yet, it still manages to contain genuine emotional resonance and is a film that plucks at the heartstrings and perhaps even conjures a few tears. It is a film that succeeds in its honesty – it is undoubtedly a film that intended to be a simple expression of joy and happiness, one that is as riveting as it is delightful. It is unassuming and particularly humble. Paddington was a huge success, garnering worldwide acclaim and gathering legions of fans of all ages, but the sequel does not rest on its laurels at all, and it has a winning formula – it retains much of the same charms from the previous film that made it such a success, but changes just enough to make it an original adventure with its own unique charms. It transcends boundaries that separate individuals to tell a resonant, moving story that does not speak to one group more than the other but is welcoming to all. Paul King made another whimsical, idiosyncratic film, one that is as visually stunning as it is warm in terms of the story. I still find it delightfully illogical and almost surreal for such an extraordinarily lovely film to exist – it manages to approach its subject matter with gentle devotion, crafting an utterly exquisite film that never fails to elicit laughter and authentic joy from the audience. Paddington 2 is nothing short of a miraculous film, with simple storytelling working well in its favor. Paddington 2 thrives on its execution, and through the combination of visual splendor and narrative brilliance, it is a good-natured, delightful comedy without a single inauthentic moment.

I found Paddington 2 to be an absolute delight – it follows its predecessor in being a relentlessly-sweet, unfalteringly affectionate tale of a young bear on his misadventures. Whether it is in the vignettes in which we see Paddington interacting with other characters and spreading his infectious warmth and lovability, or in the central storyline, Paddington 2 is astonishing. It extends far beyond what one would expect from a film like this – it is more than just a juvenile family film – it is a sophisticated, elegant and idiosyncratic film filled with genuine whimsy. It is an earnestly enchanting comedy, with true emotional resonance, making some profoundly relevant statements without losing sight of its comforting core. It is a film that exceeds its lightweight exterior and nestles within the heart of the viewer, who leave this film suitably captivated after experiencing this magnificent film. I stand by the statement that Paddington Bear is an important literary figure, as evident by this film, whereby the filmmakers took precise care in looking after the legacy of the iconic character, crafting a magical film from Michael Bond’s groundbreaking children’s stories. With all the attempts made to bring people together, who thought the key to uniting us all was a polite, anthropomorphic bear? Paddington 2 is nothing short of a masterpiece, and Paul King made something truly exceptional with this film.