Paddington in Perú 

It’s rare for a sequel to outshine its predecessor, yet few examples come to mind as swiftly as the Paddington franchise—a live-action series about a clumsy yet dignified Peruvian bear who finds a home in London. Based on Michael Bond’s books, the first two films, particularly the sequel, have captivated audiences of all ages, blending childlike wonder with sophisticated humor and heartfelt humanity.

Paddington in Peru, the third installment, aims to延续 this legacy by thrusting its protagonist into a globe-trotting adventure. This time, Paddington (voiced by Ben Whishaw) returns to the Amazon rainforest of his youth to rescue his Aunt Lucy (Imelda Staunton), who vanishes mysteriously from her retirement home in Lima. While the first film revolved around cultural mishaps and the second showcased Paddington’s unwavering kindness, this chapter delves into a more introspective journey of self-discovery. Though the script occasionally lacks subtlety (a character bluntly declares, “you’ve finally found yourself!”), the bear’s evolution feels meaningful: from a bumbling outsider, he emerges as a confident pioneer embracing his dual identity as both a Londoner and a Peruvian.

The story opens with the Brown family in their cozy London home. The children, now teenagers, have grown independent, leaving Mrs. Brown (Emily Mortimer, replacing Sally Hawkins) nostalgic for their closer-knit past. When Paddington learns of Lucy’s disappearance, the Browns seize the chance to reconnect by embarking on a rescue mission—and an impromptu family vacation—to Peru.

In his feature film debut, director Dougal Wilson pays playful homage to cinematic classics. The tone shifts seamlessly between slapstick comedy (a chaotic jungle chase evoking Buster Keaton’s physical humor) and swashbuckling adventure (a rope-bridge sequence reminiscent of Indiana Jones). One standout moment features Olivia Colman as the Reverend Mother, belting out a melodramatic ballad in the retirement home, a scene that balances absurdity with emotional weight. Antonio Banderas, as the charismatic river guide Hunter Cabot, injects roguish charm, though his character’s ulterior motives add a layer of intrigue that occasionally feels underdeveloped.

Yet the film grapples with an unavoidable challenge: how to measure up to Paddington 2, whose brilliance was amplified by Hugh Grant’s scene-stealing villain. Here, Colman and Banderas try to fill the void with frenetic energy, but their performances, while entertaining, lack the nuanced wit Grant brought to the table. Paddington himself remains endearing—his wide-eyed optimism and accidental chaos are as charming as ever—but the narrative struggles to replicate the emotional resonance of its predecessor.

Where Paddington in Peru shines is in its visual splendor. The lush Amazonian landscapes, vibrant markets, and quirky animal sidekicks (including a mischievous capuchin monkey) create a whimsical backdrop. The Browns’ dynamic also evolves humorously: Mr. Brown (Hugh Bonneville) navigates midlife crises with comedic clumsiness, while the teens’ sarcastic banter adds a modern edge.

The film’s climax, though predictable, delivers wholesome messages about family bonds and cultural pride. By the end, Paddington’s journey feels less about “finding himself” and more about embracing the idea that home isn’t a place, but the people who accept you unconditionally. While it may not reach the heights of Paddington 2, this chapter retains enough warmth and wit to please fans. It’s a colorful, if slightly uneven, tribute to a bear who continues to remind us that kindness—and a well-packed marmalade sandwich—can conquer even the wildest jungles.