Director: Paul King
Writer: Paul King, Simon Farnaby
Based on: Michael Bond‘s books
Sequel to: Paddington
Cast: Ben Whishaw, Hugh Bonneville, Sally Hawkins, Madeleine Harris, Samuel Joslin, Julie Walters, Hugh Grant, Peter Capaldi, Imelda Staunton, Michael Gambon, Jim Broadbent, Marie-France Alvarez, Sanjeev Bhaskar, Ben Miller, Jessica Hynes, Robbie Gee, Richard Ayoade, Brendan Gleeson, Joanna Lumley
Seen on: 9.12.2017
Having settled with the Brown family and in the community, Paddington (Ben Whishaw) is happy. And his Aunt Lucy’s (Imelda Staunton) 100th birthday is coming up, so he is looking for the perfect present. He finds it in Samuel Gruber’s (Jim Broadbent) shop: a pop-up picture book of London. But he needs a job to earn money to get it – which is not so easy as a small bear. And then it seems that Paddington isn’t the only one interested in the book at all as it gets stolen, and he gets in trouble for it.
As with Coco, I heard a lot of good things about Paddington 2 beforehand, and again I thought that the resulting film was even better than I expected from what I heard before. It’s a wonderful film that had me floating on a pink cotton candy cloud out of the cinema. What more could you ask of a film?
If someone had told me going into the film that Paddington 2 would be one of the most fundamental and concise critiques of toxic masculinity, especially in the context of incarceration, I probably would have laughed them out of the room. But that is just what Paddington 2 gives us. Which is absolutely amazing in many ways.
Even when you don’t want to look at things through a gender studies lens,, Paddington 2 has a lot to offer for kids and adults alike. Underneath the top layer of silliness, we get an emotional tale that appeals to a sense of community and solidarity that is something that has become increasingly rare in our fragmented, individualistic society.
Plus, the cast is simply great, starting with peak Hugh Grant and going into even the smallest parts. The set designers must have had the time of their lives with the sets. They are stunning in their old-timey warmth.
Generally the film exudes a sense of warmth that I wanted to wrap myself up in. Even when things look bad, it remains positive. It is made to be pleasing and make happy without being shallow or so blinkered it straight up ignores the bad stuff. I’ll take it.