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What the Smurf are we doing here?

Somewhere between a warped Rihanna concept album and a multiversal superhero knock-off, the film can't decide how it wants to sell out.

What the Smurf are we doing here?
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The Smurfs movies from over a decade ago finally learned to stay in their own animated world after three films, discarding their Alvin And The Chipmunks-style forays into live-action in favor of something suitably smaller-scale. But the Smurfs series came to a close just as Trolls was establishing a new sugar-rushed, pop-scored paradigm for outdated IP adaptations. So now, nearly a decade after that film came out, the Smurfs are back. Their new movie is both a knock-off of the lucrative musical from DreamWorks (which is where Smurfs director Chris Miller worked for most of his career) and of the lapsed trend of multiversal superhero fare. Caught between its cynical approaches to bygone zeitgeists, Smurfs can’t decide how it wants to sell out.

While directed by Miller and written by Pam Brady (whose credits alternate between South Park projects and kiddie fare), it’s Rihanna that emerges as the true auteur of Smurfs. Replacing Katy Perry and Demi Lovato in the pop-star-as-Smurfette role, Rihanna is the lead actor, producer (alongside her manager Jay Brown, and Roc Nation co-founder Ty Ty Smith), and contributor of original music. If any musical artist deserved an easy check for making dance-pop that copy-pasted cartoon character models could perform rote choreography to, it’d be Rihanna—at least, as opposed to Justin Timberlake.

But despite Rihanna’s prominence in the film, and its former production title of The Smurfs Musical, Smurfs can’t enjoy the simplicity that comes from being derivative of just one thing. Amid a cloying “I Want” song from James Corden, generic music-video sequences, and Rihanna needledrops, the film must needlessly complicate the quest of No Name Smurf (Corden) to figure out his “thing” through song. (“Carpool Karaoke Smurf” was taken, apparently.) To that end, Brady latches onto another concept that was floating around Hollywood about a decade ago: A team of heroes protecting the multiverse from villains who want to assemble a collection of magical color-coded MacGuffins.

The evil wizard Gargamel’s evil wizard brother Razamel (both voiced by JP Karliak) seeks to find and antagonize the Smurfs not just for hatred’s sake, but for a larger prize: a lost magical tome in a set of four, which grants control over the multiverse when wielded together. One of these infinity books has long been hidden in Smurf Village by Papa Smurf (John Goodman) and his brother Ken (Nick Offerman, who doesn’t play Uncle Smurf, but whose Smurf has a regular human name for undisclosed reasons). There’s another normally-named Smurf out there, Ron (Kurt Russell), who has a Thor-like mane of blond hair and a Captain America-style shield. Again, his name is not Ron Smurf, but just Ron. These three escort Smurfs to its superhero showdown finale, where the “Guardianeers Of Good” face down the dark magicians. 

As an afterthought, No Name Smurf gets a name and a “thing.” His name/thing is far less personality-driven than standbys like Vanity Smurf, Brainy Smurf, or Worry Smurf, but a bit more specific than Smurfette, whose thing has always been Girl. And yet, those single-word descriptions are about all the Smurfs have ever been able to handle.

When Smurfs focuses on its comic and cheapy Hanna-Barbera origins, the film is at least quietly hokey. Sure, the ugly character designs are facile and poorly integrated into the more detailed backgrounds. Sure, the jokes are still riddled with middle-aged screenwriter gags about Zoom calls, podcasting, emails going to spam, and LinkedIn. And sure, every other line of dialogue replaces profanity with the word “Smurf,” a long-running bit so beaten and bloodied that—when the film actually begins bleeping out words to make the connection more explicit—it almost circles back around to surreally entertaining. But that’s Smurfs. That’s all these vaguely familiar 70-year-old pop cultural artifacts have to offer.

When Smurfs strives for more, when it uses magic portals to travel to Paris and Munich and the Outback (where it introduces Natasha Lyonne cashing a check as something called a Snooterpoot), its sweaty chintziness gives way to exhaustion. At least, over the course of the film’s interdimensional travel, Paramount Animation introduces a few different art styles to relieve audiences of the core aesthetic and incessant plotting. Thirty blissful seconds flitting between claymation, 8-bit, and anime are an oasis. But then the film gets back on track, and the water turns to sand in your mouth, revealed as a mirage.

Where the Smurf are we? How the Smurf did we get here? What the Smurf are we doing? These questions use “Smurf” as a catch-all stand-in, shaped around something unsavory yet immediately recognizable to make it more palatable to a large audience. Smurfs does the same thing.

Director: Chris Miller
Writer: Pam Brady
Starring: Rihanna, James Corden, Nick Offerman, JP Karliak, Daniel Levy, Amy Sedaris, Natasha Lyonne, Sandra Oh, Jimmy Kimmel, Octavia Spencer, Nick Kroll, Hannah Waddingham, Alex Winter, Maya Erskine, Kurt Russell, John Goodman
Release Date: July 18, 2025

 
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