
‘Smurfs' (2025) Review: Rihanna Powers A Blue-Hued, Music-Fuelled Reboot
It all kicks off with that familiar jingle—the classic Smurf chorus echoing through a peaceful village. Then, BAM: the vinyl scratches, the beat drops, and suddenly we're in a remix. A pulsing pop-dance track takes over, announcing that this film isn't here to coast on nostalgia. Instead, it's remixing the brand with glitter, lore, and musical energy.
Now, this isn't the Smurfs' first time on the big screen. Back in the early 2010s, we got those New York-set live-action hybrids starring Neil Patrick Harris and Katy Perry as Smurfette. Those entries were best remembered for awkward human/Smurf bonding and a mildly alarming fixation on Smurfette's hair. 'Smurfs' is technically still a hybrid too—it's set across real-world locations like Paris, Munich, and the Australian Outback.
And yes, there are CGI kangaroos.
This time around, the humans mostly fade into the background. The Smurfs run the show. And visually, the film leans fully into vivid comic-book animation layered over striking live-action backdrops.
Visually speaking, it's a welcome return to the source. The Smurfs now resemble the original creations of Belgian cartoonist Peyo—rounder, livelier, and full of expressive charm. They're also unbearably cute—like plushies brought to life with attitude. The animation embraces a bouncy, squash-and-stretch style, enhanced by action lines, zippy sound effects, and comic speech bubbles that sometimes pop into the 3D space and physically knock the Smurfs around.
Meanwhile, before the mayhem kicks in, the film lays down its lore. Long ago, four magical books kept balance in the universe. But when a league of intergalactic evil wizards—Asmodius (Octavia Spencer), Chernobog (Nick Kroll), Jezebeth (Hannah Waddingham), and the particularly persistent Razamel (JP Karliak)—decide to erase all goodness, the books become targets. One of them, the sassy and sentient Jaunty Grimoire (Amy Sedaris), manages to escape and has been hiding ever since.
Eventually, we shift to present-day Smurf Village. That's where we meet No Name (James Corden)—a Smurf without a defining trait, which in this world is a full-blown identity crisis. Every Smurf has something: baking, yelling, and doing sound effects. But No Name? Nothing sticks. He tries cobbling. He tries shark taming. Yeah, he even tries just… trying. Still, no dice.
Thankfully, Smurfette (Rihanna) is always in his corner. She encourages him to keep experimenting. But in a place where your name is literally tied to your talent, not fitting in hits hard.
Then comes a surprisingly emotional musical number. No Name sings about being the odd one out. That moment sparks something. Literally. He starts glowing, levitating, and—without meaning to—activates Jaunty Grimoire's hidden magic. That surge sends out a signal, and Razamel, ever watchful, locks on. Things escalate quickly.
Razamel wastes no time. He rips a portal above Smurf Village, triggering a tidal wave of chaos. Smurfs get sucked into the void like blue jellybeans. Papa Smurf (John Goodman) tries to keep the village grounded. But just before he's pulled into the swirl, he shouts one final instruction: 'Find Ken!' It's cryptic, but it's all the Smurfs have left to go on.
What follows is a whirlwind. The Smurfs launch into a globe-trotting mission packed with set pieces, songs, and rapid costume changes. It's chaotic, colourful, and honestly kind of adorable.
One minute they're swinging through vinyl records, the next they're dodging kangaroo stampedes in the Australian Outback—yes, there are CGI kangaroos, didn't we say that before? The pace rarely slows down—sometimes to its detriment—but it stays energetic. Whether they're portal-hopping, glitter-dancing, or rapping to save the day, there's always a beat drop and a wink.
Comparisons to Trolls are hard to avoid. Both films follow a duo—Branch and Poppy over there, No Name and Smurfette over here—on a vibrant, music-fueled journey through weird worlds. They're small. They're misunderstood. And they sing their way toward self-acceptance. Heck, some poofy hairy characters even show up later on.
But where Trolls keeps its structure tidy and emotional arcs a little more clear, 'Smurfs' embraces the messy. It's more chaotic and less concerned with coherence than it is with colour and vibes.
Still, this reboot feels more in tune with the spirit of the Smurfs than past efforts. It's not the classic version, sure—but expecting them to stay stuck in the '80s forever isn't exactly fair. And compared to the uncanny CGI cat that screeched through Times Square in the last franchise? We'll take vinyl portals any day.
Yes, it still 'Roger Rabbits' its way through real settings. But here's the twist—the style never shifts. The Smurfs remain animated in every scene, whether they're tiptoeing across cobblestones or bounding through Outback dust. That consistency makes all the difference.
As for the plot, it's your standard kid-friendly recipe. A chosen one. A glowing destiny. A big bad. And yes, a climactic moment where friendship unlocks the ultimate power. It's familiar, bordering on predictable. But 'Smurfs' isn't trying to be 'Inside Out'. It's here to entertain and get the kids bopping in their seats.
In that, it mostly succeeds. The animation bursts with energy. The transitions snap and swirl. Visually, it's like licking a rainbow popsicle while bouncing on a trampoline.
Along the way, the Smurfs cross paths with an ever-growing roster of oddball characters—like Natasha Lyonne's poofy-sphere Mama Poots, and eventually Ken (Kurt Russell), revealed to be Papa's long-lost brother. The lore keeps dropping, the cast keeps expanding, and the weirdness only escalates.
Oh, and yes—Gargamel is still here in this version, along with a not-CGI – and frankly, cuter – Azrael. But this time, he's more of a lesser evil. The real threat comes from his more dangerous and unhinged brother, Razamel. Compared to the chaos Razamel unleashes, Gargamel almost feels like comic relief, a washed-up wizard just trying to keep up in this modern age.
Toward the end, the film even swings big. As the Smurfs open portals to alternate worlds, the art style begins to shift. There's a Play-Doh world. A pencil sketch world. An Atari-style pixel universe. Even a full-blown anime sequence. It's brief but bold, evoking 'The Amazing World of Gumball' in its ability to play with form and tone.
Musically? It gets the job done. But don't expect the next Timberlake bop like 'Can't Stop the Feeling.' Unlike 'Trolls' or 'K-Pop Demon Hunters', this soundtrack won't be dominating the radio waves. The songs are fine—forgettable outside the film, but fun in the moment. They move the plot, add emotion, and provide breathers between dimension-hopping chaos.
What grounds the glitter is the film's core message. No Name's arc is about identity—about feeling out of place when everyone else seems to know exactly who they are. That's a resonant theme, especially for younger viewers still finding themselves.
The film also values community. Every Smurf brings something to the table. And Papa Smurf's backstory adds a hint of guilt and redemption. The village, it turns out, was built as a second chance. It's not deep, but it gives the silliness a bit of weight.
Then, of course, the final number hits. A glittery, pulsing, all-hands-on-deck dance sequence—because how else are you supposed to end a modern animated film?
'Smurfs' doesn't aim to reinvent the genre. But it embraces its chaos with confidence, cuteness, and charm. And it practically begs us: 'Please don't stop the music'. Sure, it's generic in parts—but the kids in our screening were laughing, singing, and vibing with the colours. And honestly? That's the only verdict that matters.

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Malay Mail
18 hours ago
- Malay Mail
Malay Mail's Top 10 Picks: ‘Superman' stays second while the dinos keep their territory safe at No. 1
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Top 10 films in local cinemas (Domestic & International) (July 17 to July 20) Jurassic World Rebirth Superman F1: The Movie Impak Maksima 2 I Know What You Did Last Summer Smurfs Noise Tak Ingin Usai Di Sini Ghost Train Doraemon The Movie: Nobita's Art World Tales Source: and GSC Top 10 streaming on Netflix and Viu (July 14 to July 20) Netflix (Top 10 TV) TV Series UNTAMED: Limited Series Squid Game: Season 3 Gachiakuta: Season 1 DAN DA DAN: Season 2 Kaiju No. 8: Season 2 Tougen Anki: Season 1 I Was Reincarnated as the 7th Prince so I Can Take My Time Perfecting My Magical Ability: Season 2 The Fragrant Flower Blooms With Dignity: Season 1 Only You: Season 1 7 Bears: Limited Series Source: Netflix Top 10 Viu (Top 10 shows) The First Night with the Duke Mitos Cinta Akira Running Man (2025) Bitch x Rich 2 Bitch x Rich Revenged Love 逆爱 Lambaian Huda Our Generation 樱桃琥珀 Farewell Letter Taxi Driver 2 Source: Viu Frontpage Disney+ Hotstar (Top 10 shows) Our Movie: Season 1 Kaiju No.8: Season 2 Mickey Mouse Clubhouse+: Season 1 Big City Greens: Season 1 Marvel's Moon Girl and Devil Dinosaur: Season 2 Washington Black: Season 1 Low Life: Season 1 Suspicious Partner (Japanese Version): Season 1 The Nice Guy: Season 1 Law and the City: Season 1 Source: Disney+ Hotstar Top 10 songs of the week (Spotify) (July 15 to July 23) HUNTR/X - Golden (w/ Ejae, AUDREY NUNA, REI AMI, KPop Demon Hunters Cast) Jin - Don't Say You Love Me BLACKPINK - JUMP Tenxi - mejikuhibiniu (w/ Suisei, Jemsii) sombr - back to friends Saja Boys - Your Idol (w/ Andrew Choi, Neckwav, Danny Chung, KEVIN WOO, samUIL Lee, KPop Demon Hunters Cast) Saja Boys - Soda Pop (w/ Andrew Choi, Neckwav, Danny Chung, KEVIN WOO, samUIL Lee, KPop Demon Hunters Cast) Fourtwnty - Mangu (w/ Charita Utami) Naim Daniel - Seni Berdamai Dengan Takdir (w/ Adnin Roslan) HUNTR/X - What It Sounds Like (w/ Ejae, AUDREY NUNA, REI AMI, KPop Demon Hunters Cast) Top 10 Malay songs of the week (Spotify) (July 15 to July 23) Adrianna Cinta, Farouk Roman - Dalam Sujudku (Acoustic version) - From 'Dia Bukan Syurga' Naim Daniel, Adnin Roslan - Seni Berdamai Dengan Takdir Rombongan Bodonk Koplo, Ncum - Calon Mantu Idaman Tenxi, Suisei, Jemsii - mejikuhibiniu Batas Senja - Kita Usahakan Lagi Ara Johari - Menjaga Jodoh Orang Lain Nadeera - Bukan Lagi Kita Imran Ajmain - Seribu Tahun Lagi Dato' Sri Siti Nurhaliza, Ade Govinda - Menamakanmu Cinta Noh Salleh - Rahsia Tuhan Source: and Spotify Top 10 books of the week (July 11 to July 17) Fiction Strange Houses by Uketsu (HarperVia) The Wizard's Bakery by Gu Byeong-Mo (Wildfire) Before the Coffee Gets Cold by Toshikazu Kawaguchi (Picador) Maybe This Is Love by Maria Mahat (Rumaa Books imprint IMAN Publication) Powerless by Lauren Roberts (simon & schuster books for young readers) Strange Pictures by Uketsu (HarperVia) A Curse for True Love by Stephanie Garber (Flatiron Books) Blue Sisters by Coco Mellors (Ballantine Books) Five Survive by Holly Jackson (Electric Monkey) A Thousand Splendid Suns by Khaled Hosseini (Riverhead Books) Non-Fiction You're Not Bad with Money by Rachel Liew ( A Doctor in the House by Mahathir Mohamad (MPH Group Publishing Sdn Bhd) Surrounded by Idiots by Thomas Erikson (St. Martin's Essentials) Atomic Habits by James Clear (Penguin Books) The Let Them Theory by Mel Robbins & Sawyer Robbins (Hay House LLC) The Malay Dilemma (Reissue Edition) by Mahathir Mohamad (Marshall Cavendish) The Mountain Is You by Brianna Wiest (Thought Catalog Books) A Conversation with Tun Dr Mahathir bin Mohamad by Perdana Leadership Foundation (gerakbudaya enterprise) Once Upon a Miao 2 (Remastered): Crushes, Friendship & Chaos by Jian Goh (Space Voyager Log PLT) Once Upon a Miao 3 by Jian Goh (Space Voyager Log PLT) Mutiara Minda (Malay Novels) Kaisar by Jiwa (Nukilan Biruni) Thariq Ridzuwan Commando's: His Treasure by Hudanajwa (Idea Kreatif) Qaid: The Unknown by Effalee (Manes Wordworks) Mi Carino by Hudanajwa (Idea Kreatif) Rahsia Danny by Teme Abdullah (Iman Publication) His Code Name Alpha 2 by Elyshakaman (Idea Kreatif) Mi Linda by Hudanajwa (Idea Kreatif) Mi Veneno 1 by Hudanajwa (Idea Kreatif) His Code Name Alpha by Elyshakaman (Idea Kreatif) Mi Veneno 2 by Hudanajwa (Idea Kreatif) Source: MPH


Malay Mail
a day ago
- Malay Mail
Drag, decadence and drama as Versailles orchestra brings 17th-century scandal ‘Affair of the Poisons' to New York debut
NEW YORK, July 24 — Acrobatics, fortune tellers, opulent gowns and palace intrigue: the New York debut of the Versailles Royal Opera Orchestra was a performance befitting the era it recalls. Monday's immersive show Versailles in Printemps: The Affair of the Poisons centred on France's 17th-century period of excess and seediness that its creator, Andrew Ousley, told AFP has parallels to the present day. At the evening staged in Manhattan's new Printemps luxury emporium, guests and performers alike donned velvet waistcoats, silky corsets, feathered headdresses and powdered makeup. Artists perform as guests attend a show called 'Versailles in Printemps: The Affair of the Poisons.' at the Printemps store in Lower Manhattan, New York City on July 21, 2025. At the evening staged in Manhattan's new Printemps luxury emporium, which opened in March on Wall Street, guests and performers alike donned velvet waistcoats, silky corsets, feathered headdresses and powdery makeup. — AFP pic Core to the performance's tale was the discovery of arsenic, Ousley said — the first 'untraceable, untastable poison.' 'Everybody was just poisoning everybody.' And at the web's centre? A midwife and fortune teller named La Voisin, he said, a 'shadowy-like person who basically would peddle poison, peddle solutions, peddle snake oil.' 'She was the nexus,' Ousley continued, in a scheme that 'extended up to Louis XIV, his favourite mistresses' — inner circles rife with backstabbing and murder plots. The poisoning scandal resulted in a tribunal that resulted in dozens of death sentences — until the king called it off when it 'got a little too close to home,' Ousley said with a smile. 'To me, it speaks to the present moment — that this rot can fester underneath luxury and wealth when it's divorced from empathy, from humanity.' Along with a programme of classical music, the performance included elaborately costumed dancers, including one who tip-toed atop a line of wine bottles in sparkling platform heels. The drag opera artist Creatine Price was the celebrant of the evening's so-called 'Black Mass,' and told AFP that the night was 'a beautiful way to sort of incorporate the ridiculousness, the campness, the farce of Versailles with a modern edge.' Drag is 'resistance,' she said, adding that her act is 'the essence of speaking truth to power, because it really flies in the face of everything in the opera that is standard, whether it's about gender or voice type.' Versailles Royal Opera Orchestra during a show called 'Versailles in Printemps: The Affair of the Poisons.' at the Printemps store in Lower Manhattan, New York City July 21, 2025. — AFP pic Period instruments The Versailles Royal Opera Orchestra formed in 2019, and its first stateside tour is underway: the series of shows kicked off at Festival Napa Valley in California before heading to New York. On Wednesday, it will play another, more traditional show at L'Alliance New York, a French cultural centre in Manhattan. The orchestra aims to champion repertoire primarily from the 17th and 18th centuries, and plays on period instruments. 'Playing a historical instrument really gives me a feeling of being in contact with the era in which the music was composed,' said Alexandre Fauroux, who plays the natural horn, a predecessor to the French horn distinguished by its lack of valves. Ousley runs the organisation Death of Classical, an arts non-profit that puts on classical shows in unexpected places, including the catacombs of Brooklyn's Green-Wood Cemetery and crypts in Manhattan. Madame Athenais de Montespan played by Erin Dillon performs during a show called 'Versailles in Printemps: The Affair of the Poisons.' at the Printemps store in Lower Manhattan, New York City on July 21, 2025. The immersive show 'The Affair of the Poisons' centred on France's 17th-century period of excess and seediness that its creator, Andrew Ousley, told AFP has parallels to the present day. — AFP pic Monday's spectacle included over-the-top performance, but Ousley emphasised that the evening was ultimately a celebration of classical artists. 'These are players who play with such energy, to me it's more like a rock band than an orchestra,' he said. And the mission of putting on such shows is about something bigger, Ousley said: 'How do you fight against the darkness that seems to be winning in the world?' 'When you can sit and feel, with a group of strangers, something that you know you feel together — that's why I work, because of that shared connection, experience and transcendence.' — AFP


New Straits Times
3 days ago
- New Straits Times
Republicans seek to rename opera house after Melania Trump
WASHINGTON: Republicans in the US House of Representatives sought Tuesday to rename the opera house in Washington's John F. Kennedy Centre for the Performing Arts after First Lady Melania Trump. The Republican-led House Appropriations Committee voted to advance language that would condition funding for Washington's premier cultural institution on the name change as it debated the 2026 budget. Idaho congressman Mike Simpson, who introduced an amendment to call the venue the "First Lady Melania Trump Opera House," said it was an "excellent way to recognise her support and commitment to promoting the arts." The move marked the latest front in President Donald Trump's hostile takeover of the Kennedy Centre, after he fired board members in February and appointed himself chairman, and replaced its longtime president with ally Richard Grenell. Trump, who accused the institution of being too "woke," also picked White House chief of staff Susie Wiles, deputy chief of staff Dan Scavino and Second Lady Usha Vance to serve as trustees. The president was met with cheers and boos at the centre in June as he attended an opening night performance of hit musical "Les Miserables." Republicans have been keen to flatter Trump and help the president cement his legacy in his second term, including by introducing legislation to rename the capital region's Dulles International Airport after him. There have also been efforts in Congress to replace Benjamin Franklin with Trump on the US$100 bill, to carve Trump's likeness on the iconic Mount Rushmore, to name a national holiday after him and to reimagine Washington's Metro train service as the Trump Train. The Kennedy Centre change was added to legislation principally providing 2026 funding for the Department of the Interior and the Environmental Protection Agency. But the 2,364-seat theatre – the second-largest at the Kennedy Centre complex – would only get its new designation if the change was approved by both chambers of Congress. Republicans hold 53 seats in the Senate and spending bills require 60 votes to pass, meaning Democrats may be able to strip the name change out of the text before any final vote.