Mary Poppins Returns - Review

In the recent age of Disney regurgitating most of its past films to stellar (“Cinderella (2015),” “Pete’s Dragon (2016)”) and less than stellar “(Beauty and the Beast (2017)”) results, it’s easy to be cynical about anything coming out of the Mouse House that bears resemblance to past projects. It’s even easier to be cynical when that new project is based upon something so iconic, whimsical, and “practically perfect” as “Mary Poppins.” And then you actually see the film, and all cynicism is washed away.

To make a long story short, “Mary Poppins Returns,” the sequel to the original 1964 film, is not a remake or bastardization of the original tale. It’s a continuation, with a new Mary for a new generation of moviegoers.

Emily Blunt (“Edge of Tomorrow,” “The Adjustment Bureau”) perfectly encapsulates the energy of Mary, flowing through each scene like she’s on a cloud. Her smile and wit easily match that of Julie Andrews’ in the original, while also imbuing her with a bit more playful, almost cockney sense of humor during some of the most dazzling musical numbers.

The filmmakers have also cast Lin Manuel Miranda (“In the Heights,” “Hamilton”) as Jack the Lamplighter, and have utilized each of his theatrical musical skills to a T. His charming smile and talent for fast-paced lyrics are put to great use here, and he maintains the same amount of mystery that Dick Van Dyke blessed Bert the Chimney Sweep with over 50 years ago.

While not as prominently featured, the rest of the cast is also excellent. Colin Firth (“The English Patient,” “Mamma Mia!”) delivers an excellently smarmy performance as the bank owner William Wilkins, and his lackeys, played by Jeremy Swift (“The Smoking Room,” “Downton Abbey”) and Kobna Holdbrook-Smith (“Ghost Stories (2017),” “Mike Bassett: Manager”), are delightfully buffoonish, with Smith stealing most scenes he’s in.

The three Banks children; Annabel, John and Georgie, played by Pixie Davies (“Miss Peregrine's Home for Peculiar Children,” “Humans”), Nathanael Saleh, and Joel Dawson, respectively, hold their own against the older, seasoned adult actors, doing fine jobs playing wish-washy children with a penchant for mischief and imagination.

Ben Wishaw (“Paddington,” “Skyfall”) and Emily Mortimer (“The Newsroom,” “Doll & Em”) also do wonderful jobs as the grown Michael and Jane Banks. Wishaw isn’t afraid to let his charming and childlike smile loose every so often, and Mortimer is as likeable as ever, even if she doesn’t get a much plot devotion as she deserves.

It’s easy to wax nostalgic about the original film and point out all the endless references and tiny Easter eggs all throughout this new film as well. There’s kite flying, tuppences and so much more. But nailing down these references seem so against what this new film is all about.

Director/co-writer Rob Marshall (“Chicago (2002),” “Into the Woods (2014)”) and co/writers David Magee (“Finding Neverland,” “Life of Pi”) and John DeLuca (“Memoirs of a Geisha,” “Into the Woods (2014)”), along with the rest of their crew, seem so excited to show what sets they built and what numbers they’ve choreographed that the film moves along at a brisk pace and energy just to get through it all. It wavers a bit in the middle, a nanny does need her rest after all. But just as quickly as it rested, this crew of filmmakers is right back to tripping the lights and being fantastic.

Of course, Mary Poppins just isn’t the same without music to go with the adventure, and this new film contains nine new songs to go with it. Just about all of them are excellent, with “A Cover is not a Book” and “Trip a Little Light Fantastic” proving immediate standouts. Only one (“Turning Turtle”) seems to be lacking in the same energy. Still, the worst amongst a catalog of excellence isn’t that bad.

There’s a lot to say about this new adventure. It would be easy to say it’s slow, that not much happens and that it sidelines the grown Banks children. You could even say that it seeks to imitate rather that elaborate. However, imitation is the sincerest form of flattery, and even if it’s all imitation, if its half as good as the original, that’s pretty damn good.

“Mary Poppins Returns” features some excellent music and an ensemble cast worth cheering about. Emily Blunt can easily hold her own against Andrews’ original nanny, as can Miranda against Van Dyke. Really, it’s the film’s seemingly pure search for joy and magic that put it above the competition. When’s the last time a movie came along that made you not want to know how they did it all? Instead, it made you want to preserve the magic and keep it all a secret. Of course, even with all that, it's easy to be cynical about a movie like this; a movie that seeks purely to instill joy and magic. It's easy, until you see it. 4.5/5