When it comes to adapting beloved video game franchises into movies, the results are often hit or miss. But what happens when the most captivating moment in a film has nothing to do with its titular character? That’s the intriguing case with The Super Mario Galaxy Movie, where the standout sequence doesn’t feature Mario at all. Instead, it’s Glen Powell’s portrayal of Fox McCloud—a character from an entirely different franchise—that steals the show. Personally, I think this says more about the film’s creative choices than it does about Fox’s appeal, but it’s a detail that I find especially interesting.
One thing that immediately stands out is the stylistic shift during Fox’s introduction. When Peach and Toad encounter him in the Gateway Galaxy, the movie transitions into a stunning 2D anime art style. This isn’t just a visual gimmick; it’s a bold departure from the film’s standard aesthetic, and it works brilliantly. What makes this particularly fascinating is how it contrasts with the rest of the movie, which leans heavily on nostalgic references to Mario’s legacy. Here, the filmmakers take a risk, and it pays off in spades.
From my perspective, this sequence is more than just a stylistic flex—it’s a missed opportunity turned into a moment of brilliance. Fox’s backstory, which involves being pulled from his home dimension and stranded in Mario’s world, is rich with potential. Yet, the movie barely scratches the surface. Instead, Fox is reduced to a cool-looking cameo, likely a teaser for his rumored Switch 2 game. What this really suggests is that the filmmakers prioritized fan service over storytelling, which is a shame. If you take a step back and think about it, this could have been the emotional core of the film, but it’s treated as an afterthought.
What many people don’t realize is how much of the sequence’s success can be attributed to Benjamin Faure, the supervising animator who brought it to life. Faure’s background in both 3D animation and anime—including work on Chainsaw Man and Jujutsu Kaisen—is evident in every frame. His attention to detail and respect for the source material (he even gave a shoutout to Fox’s original designer, Takaya Imamura) elevate the scene from a mere Easter egg to something genuinely special. This raises a deeper question: why aren’t more video game adaptations taking risks like this?
In my opinion, the Fox sequence isn’t just the best part of The Super Mario Galaxy Movie—it’s a blueprint for how to innovate within the constraints of a franchise. Illumination’s house style, while visually impressive, often feels formulaic. But here, they break the mold, and the result is electrifying. It’s a reminder that even in a movie packed with references, originality can still shine through.
Looking ahead, I can’t help but wonder if Nintendo and Illumination will capitalize on the positive response to this sequence. A Star Fox spin-off in this anime-inspired style? Now that’s something I’d pay to see. For now, though, we’re left with a tantalizing glimpse of what could have been—and what still might be. As someone who’s spent years analyzing these franchises, I can say this: the coolest part of The Super Mario Galaxy Movie isn’t about Mario at all. And that’s exactly what makes it so memorable.
