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Mary Poppins has a reputation that precedes her. Even if one has never seen the classic 1964 Disney film, Mary Poppins is a recognizable figure. The songs, the umbrella, the mentions within pop culture and, of course, Shary Bobbins.

I, for one, had never seen the original film until my mid-twenties or so. Nonetheless, supercalifragilisticexpialidocius was a word I knew. I knew a spoonful of sugar helped the medicine go down and I was ready to fly a kite. These elements are ingrained in popular culture—which is why Mary Poppins Returns has to tread so carefully. The character of Mary Poppins has been a beloved pop culture icon for nearly 60 years. Mary Poppins is heralded as a musical classic.

Disney seems to have been itching for a reboot with the awards-friendly Saving Mr. Banks being released just a couple of years back. That film which chronicles the relationship between Walt Disney and P.L. Travers was positively received. Not long after, Disney announced a new Mary Poppins title.

With the pressure of one of cinema’s most iconic characters on her shoulders, many wonder if Emily Blunt is capable of donning that infamous umbrella.

Mary Poppins Returns (2018)

Expectations are high for Blunt’s turn as the noted nanny. She has big shoes to fill. The film picks up some 20–30 years following the events of the first film. The Banks children are grown and raising a new crop of kids. Michael (Ben Whishaw) in particular finds himself encountering some hardships following a harrowing year. But soon, like a storm, Mary Poppins blows in on the wind to come to the families aid. Through song, dance and spectacular animated sequences, Mary Poppins teaches this next generation of Banks children to be imaginative problem solvers.

Gorgeous to look at and featuring a smile-inducing series of songs and sequences, Mary Poppins Returns is the latest in a new trend of legacy sequel (Creed, The Force Awakens, etc), wherein a new set of characters advance a familiar story. Often times, many of the narrative beats parallel the original film—sometimes adding their own spin (Halloween). When done right, it’s a clever mixture of story innovation and nostalgia grab.

From what I gather, this is the formula Returns takes. Look, as I said, I’ve seen the original one time. I have no real feelings for that film or its legacy, which I think helps look at the sequel with a clear lens.

A Cover is not the Book

Emily Blunt gets her own city laborer-sidekick with a faux accent in the form of Jack—played with charm and sweetness by Lin Manuel-Miranda (Hamilton). The pair work well together. Jack is familiar with the legend of Mary Poppins and is alluded to having met her in the course of the original story. Miranda is a great addition to the cast. He comes off as the nicest person in the world and that resonates in Jack’s character. Not to mention he can nail the singing/dancing even though it does force a rap break in one of the film’s central musical numbers. To be fair, I was there for it.

Whishaw and Emily Mortimer bring a lot of heart to the adult Banks siblings, Michael and Jane, while the newcomers each hold their own.

But the true star is Emily Blunt. She nails every element of the performance and characters. From the moment she wafts from the clouds, she takes control of each and every scene. A true driving force, it’s one of the year’s best performances. If you had any concerns about her taking the mantle, rest assured—she was the woman for the job.

Along with the performances, come gorgeous sets and costumes. A kaleidoscope of color, Mary Poppins Returns dazzles the viewer. And of course, we can’t forget the animated sequences. There are two key set pieces involving mixed media, the first is in regard to the song “Can You Imagine that” in which Mary takes the children to an underwater world of pirates and over-sized rubber ducks. It’s the modern version, with CGI and digital effects merging the human actors with a digital water world (not that Water World). An traditional animated sequence recalls the original film’s style. It is arguably the highlight of the film as the children enter the animated design on the side of a decorative bowl.

The Place Where Lost Things Go

While the film will leave most viewers grinning ear to ear, it is not without its flaws. Primarily, the cyclical nature of the plot. Song, lesson, song, lesson, repeat with no real bearing on the plot. One sequence in particular could have been completely cut. As it adds absolutely nothing to the story, other than a bit part for Meryl Streep. Trimming this sequence from the film would alleviate the long run time.

This lack of discretion to the overall plot shows a key issue with the technical aspect of the film: editing. Ultimately, there are sequence that just plop together with no real reason. This is most obvious in the finale of the film as the story jumps two or three days ahead to the final climactic moment. It’s a jarring, rushed move that wrestles you from the viewing experience.

And lastly, though the songs are good, there aren’t any that really pop. I can hardly remember any of the lyrics to any of the numbers, which is problematic with this sort of film. I’m still singing Moana tracks, and I watched that film a very long time ago. And in a year with Bohemian Rhapsody and A Star is Born reigniting some classics and introducing some classics, it feels like a bit of a letdown that Mary Poppins Returns lacks that anthem.

Trip a Little Light Fantastic

Nonetheless, by the end of the film, I was happy and smiling widely. But the longer I thought about it, the more the individual pieces didn’t work. That being said, go see Mary Poppins Returns on a big screen with a great sound system. Also, the kids are going to love it.

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