The first movie was essentially a collection of Mario nostalgia attached to an excuse plot. Considering that the games themselves are often excuse plots attached to great platforming mechanics, this is completely fine, and the film works as a masterpiece of nostalgia bait.

However, for all its flaws, the first movie does have a plot. Mario has to stop Bowser from using the power of the star. There is also a simple dramatic arc. Mario is insecure about being a failure and wants to achieve something meaningful, but he is told by his father that his ambition to run a family business will amount to nothing and may even drag Luigi down. In the end, he achieves greatness and, in doing so, inspires Luigi to become heroic

All the nostalgic references are wrapped around either that simple plot or emotional arc. For example, after Mario fails at his first plumbing job and is mocked by his family over his TV advertisement, which itself is excellent nostalgia bait, he plays Kid Icarus on the NES and dies, mirroring his emotional state. Similarly, Mario executing a Rainbow Road shortcut while escaping Bowser’s army reinforces both the action and the narrative. The nostalgia is integrated into the story and does not distract from it.

The first movie is adequate. It is designed to produce nostalgia to sell toys and video games, and it succeeds at that simple goal. I do not mind watching a commercial for video games dressed up as a movie if it is done well.

Mario Galaxy is a significantly worse film and is a bit of a mess because it does not know what it wants to be. Is it a collection of fun references meant to produce nostalgia, or is it trying to be a film with an emotional core

On the surface, choosing to adapt Mario Galaxy makes sense. It has a reputation as one of the most story driven and emotionally resonant Mario games. While I think this reputation is somewhat overstated, especially compared to video games more broadly, there is still potential to expand its themes into a children’s film with emotional weight. However, the film abandons these themes, and while that is not inherently wrong, it reflects a broader problem. The movie introduces emotional potential and then discards it.

Unlike the first movie, where nostalgia is built around a simple plot and arc, here the references become distractions. They replace the dramatic arc rather than support it. Worse still, the film sets up potentially interesting ideas but fails to develop them and resolves them in unsatisfactory ways.

The core issue is a lack of focus. If the movie wanted to be a cynical, reference heavy commercial, then it should have fully committed to that. It could have been a fun, comedic celebration of the series. Some moments do work on that level. Mario becoming the temporary leader of the Mushroom Kingdom and navigating a literal world map to solve problems like completing levels is genuinely funny. Bowser Junior acting like a Kaizo level designer, creating difficult challenges on the fly, is also entertaining. The film could have committed to being a comedic celebration.

If it wanted to have an emotional core, it should have committed to that instead.

The film hints at emotional connections but fails to develop them. It introduces ideas and then resolves them without proper exploration.

It feels as though the writers wanted to create an emotionally resonant film but were required to include a checklist of references. Because of the limited runtime, this results in a mishmash of unfinished arcs and disconnected nostalgic moments.

The film sets up the idea that Bowser is attempting to redeem himself after being humbled in the first movie. Having experienced vulnerability, he begins to reconsider his role as a villain and even shows signs of liking the Mario brothers. There is a missed opportunity for instance, Bowser could have admired Mario and Luigi’s athleticism and driving ability wanted to bond with them through kart racing or sports, which would help explain his shifting role between villain and rival.

Bowser is confronted by Bowser Junior, who wants to preserve his father’s former villainous legacy. This creates a potential conflict where Bowser must choose between redemption and returning to villainy.

At the same time, Mario struggles with the idea of rehabilitative justice. Can Bowser truly change? When Bowser betrays his trust, Mario is faced with whether to punish Bowser Junior or recognise that he is still a child.

Mario also struggles with low self esteem. He doubts whether someone of his humble background deserves Princess Peach’s affection, which prevents him from pursuing a relationship despite her obvious affection towards Mario.

None of these arcs are properly developed. Bowser simply becomes a villain again with minimal reflection. Mario rescues Bowser Junior because he is the hero, again with little internal conflict. Princess Peach kisses Mario at the end without any meaningful development of his insecurities.

My suggestions to develop these emotional journey.
Bowser’s relationship with Bowser Junior could have mirrored Rosalina’s relationship with the Lumas. Rosalina could represent a nurturing but firm parent who sets boundaries, while Bowser is overly indulgent and unable to say no. This dynamic could have been both comedic and meaningful. For example, Bowser Junior might throw a tantrum about school, prompting Bowser to destroy it in an attempt to please him. This would highlight Bowser’s flaw, that his need to satisfy his son leads him into destructive behaviour. So when Bowser does betray the Mario brothers it make sense that the reason is his inability to say no to his own son.

The central dramatic arc could have revolved around Mario and Bowser competing for Bowser Junior’s moral direction. Mario would need to decide whether he wants to simply stop Bowser Junior or help redeem him. This could have tied in with Bowser’s Fury where Mario and Bowser Junior worked together in that game.

Similarly, Mario’s romantic arc with Peach could have been developed further. His insecurity, rooted in his upbringing, could have been challenged as he learns that worth is defined by actions rather than heritage. This could be reinforced by the idea that Peach herself is not royal by birth but by her leadership and character she was given the title of “Princess”.

The film does not need to follow these exact ideas. However, once such concepts are introduced, they should be developed. Instead, they are sacrificed for action sequences and references that do not serve the plot or emotional journey. Moments like the Star Fox reference, Peach fighting Mario Bros 2 enemies, or Yoshi raising baby Mario and Luigi could have been removed to make space for meaningful development.

It is better to be simple and execute it well than to attempt complexity and fail. This film tries to do everything and ends up achieving very little. It should have committed either to being a purely nostalgic celebration or to telling a focused emotional story.