Over a decade ago, when it was announced that Paul King (a mostly unknown director who had previously only made one barely-seen independent comedy) would be adapting Michael Bond’s timeless stories of Paddington Bear, the reaction was intrigued but not entirely enthused. There had been countless efforts to bring cherished childhood stories to life on screen, and they very rarely worked as well as they did on the page. Yet, something magical happened when we set foot inside the first big-screen adventure featuring the beloved little bear and his exploits around London, which we can credit to both King’s fervent attention to detail and the fact that all elements simply worked out in its favour. It was then followed by a sequel that remains the most critically acclaimed film of all time and is often seen as perhaps the greatest sequel in the history of filmmaking, an opinion that is sometimes debated, but very rarely disproven. Years later, we’ve now been given the chance to go on yet another adventure, this time in the form of Paddington in Peru, the latest work featuring our favourite marmalade-loving protagonist. There are a few small differences – some casting has changed, and King is no longer in the director’s chair, and is instead replaced by Dougal Wilson, who makes his own feature directorial debut by telling the story of Paddington and his adopted family travelling to Peru to visit his beloved Aunt Lucy, but find themselves plunged into a thrilling adventure when it turns out that she has gone missing, and it’s up to them to find her, along with the help of a group of eccentric characters they meet along the way. While it may not reach the heights of the previous two films, Paddington in Peru is still a delight in all the ways that we would expect, becoming an extremely charming comedy filled to the brim with nuances and details that make it so profoundly captivating.

To understand the appeal of Paddington in Peru, we have to consider the qualities that have drawn audiences to these films, making them absolutely essential works in terms of how they captivate viewers from across every conceivable demographic. The clearest, and perhaps most relevant, reason is quite simply that these are exceptionally well-made films, and feature enough heart and soul to keep everyone engaged and entertained, something that becomes increasingly more clear as the film progresses and we see the scope of ideas that inform a story that many would consider would be more targeted towards younger viewers, when in reality it is equally embraced by older members of the audience as well. This film in particular sets out to expand on the world of Paddington and his adopted family, taking them out of the charming version of London that we found previously and taking them about as far from their home as they can get, situating them in Peru and along the Amazon River, which proves to be an exciting new location for these characters to go on yet another hilarious and entertaining adventure. Like many sequels, the effort here was to refresh our love for these characters by taking them in a slightly different direction as far as the story is concerned, but still retaining the heart of the original, which is certainly the case for this film and its efforts to develop on an intimidating set of predecessors. Wilson deserves credit for the daunting task of following in King’s footsteps, and while his vision isn’t quite as enchanting as the previous director, he still brings enough charm to the production, tackling these ideas with sincerity and affection, enough to keep us wholeheartedly engaged from the very first moments, which is all this film needed to do to at least win our respect, which it does relatively easily and seemingly without much effort, taking us on a wonderfully enjoyable journey featuring these beloved characters.

Continuing the legacy of the Paddington films was no easy task, and it’s almost astonishing the extent to which Wilson went to honour the groundwork laid by King, while still asserting his voice to the proceedings. There are a few key components that Paddington in Peru meets without much difficulty, while still showing the handcrafted nature of the film, which has always been one of the fundamental merits that draw audiences towards these stories. The sheer emotional resonance that defines the narrative is astonishing and is worth every moment of our time, since in between the moments of swashbuckling adventure and irreverent humour, we find a tender story of family, homecoming and identity, all of which are themes that seem much bigger than a family-oriented comedy would initially suggest, but which are integral subjects that everyone, regardless of age or origin, can benefit from engaging with, especially when it takes such a beautifully poignant, poetic form, as is the case here. The balance of heart and humour is what connects us to these characters, both in making its plot one that is thrilling and in which it is impossible to not get lost, and in the more tender moments where the underlying ideas gradually start to develop and grow into something much more profound. Some moments in Paddington in Peru feel genuinely devastating, especially the final stretch in which the titular character meets his tribe, and is forced to choose between those with whom he shares a historical bond, and those who have taken him in and part them a part of their family – and just about anyone who has ever felt the beauty of a chosen family will understand the conflict at the very heart of this film. Luckily, Wilson infuses even the most melancholic moments with a sense of forthright joy and a constant stream of humour, which makes an enormous difference and allows this film to flourish into something truly special as we voyage through the narrative.

Much like the previous films in the series, Paddington in Peru is constructed from a very solid cast, with every actor being hand-selected to bring these characters to life. At the heart of the film is Ben Whishaw, who once again brings his distinctly warm, charming voice to the titular character, adding so much heart and soul to the character and anchoring the entire film. Hugh Bonneville returns as the Brown family patriarch who is questioning his willingness to take risks, while Emily Mortimer replaces Sally Hawkins, who plays Mrs Brown in both previous films – and while Hawkins is missed based on the character bringing out some of her most sentimental work, Mortimer is certainly a worthy replacement, having her unique approach to the character. Imelda Staunton and Jim Broadbent return in quite small parts, but are the heart of the film when they appear, the former in particular having a more important role to play in the narrative. The new additions to the cast include Olivia Colman as the grinning Reverend Mother who is secretly the film’s eccentric villain, while Antonio Banderas brings his trademark continental charm to the part of the scheming riverboat captain with delusions of grandeur and a taste for an elusive wealth. The Paddington films have become a safe place for established actors to take on more offbeat, eccentric characters without the fear of losing credibility since these stories are so cherished, they’re rapidly becoming a rite of passage for performers, and the new additions to this cast fit in perfectly with the world of the story, bringing their unique perspective to absolutely every moment of the film, and leaving a stark impression that once again proves just how effective a simple but dedicated performance can be when dealing with such extraordinary detail.

A charming continuation of a series that has gripped audiences for the better part of a decade, Paddington in Peru is a slight downgrade, but is still mostly a lovely comedy that meets many of the expectations we had, very rarely feeling too diminished from the two previous films, both of which would be inarguably difficult to approach as an equal, let alone overtake. Wilson has a keen visual eye, with the design of the various locations in which the film takes place alone being stunning, as are some of the more eccentric moments of humour that punctuate this film and make it so wonderfully engaging. It’s not a major work, but it’s solidly entertaining and has some tender moments that will likely resonate with the majority of viewers, especially since they touch on universal themes that are far more enthralling and engaging than we may have expected at the outset. The performances from the cast are wonderful, and the filmmaking itself is beautiful, with the vibrant colours and sprawling scope making Paddington in Peru the most expansive endeavour into this character’s world yet, and certainly one of its most entertaining, the primary purpose of this narrative and the reason it works so exceptionally well. We have already been promised a fourth entry into this series, so we’ll patiently have to watch and see where the next chapter will take us, but if this film is any indication, it will be truly magical, well-crafted and exceptionally meaningful in all the ways that matter the most, which is all we require from such a film.