[img]7|left|||no_popup[/img]The primary symptom of sequelitis is there: a driving need to pump up the stakes. Thus, we are given bigger locations (the Smithsonian instead of New York’s humble museum of natural history), villains with inflated ambitions (world domination, naturally), and bigger historical figures that magically come to life (forget Teddy Roosevelt, we literally get a giant Honest Abe from the Lincoln memorial). When the grandly subtitled “Battle of the Smithsonian” begins, the whole affair strains itself to maneuver all the pieces to justify its own existence. We join Larry Daley, one of Ben Stiller’s most likeable roles, a few years after having left behind his night guard duties and settled into the success of his gadget-making company, Daley Devices. But somehow, being the inventor of such useful things as glow-in-the-dark flashlights and becoming flush with the kind of success that leads to infomercial appearances with George Foreman doesn’t come loaded with happiness and satisfaction. Cue the shake-up, in which the exhibits from the good ol’ museum of natural history, including the Egyptian tablet that brings them to life at night, are carted off to the Smithsonian archives to make room for newfangled holographic displays. Daley’s a heel, of course, for abandoning his nighttime friends in favour of a gilded cage, but when he gets a desperate call from his diminutive cowboy buddy, again played by Owen Wilson in full-throttle charm mode, he’s naturally set to return to what matters most.
Like the previous film, “Battle of the Smithsonian” seems to offer plot more as a thinly concealed excuse to wax funny with a parade of physical and visual gags than anything else. One can imagine screenwriters Robert Ben Garant and Thomas Lennon walking through the Smithsonian looking for figures to animate, cultivating every bit of delicious silliness from such things as Einstein bobble heads. Thankfully, the comedy does work on its own; notable for its lack of raunch and bodily fluids, and full of good-natured, irresistible goofiness. There are plenty of funny little zingers, of course, like the cameos by Darth Vader and Oscar the Grouch, but the sustained comedy bits that arise from villain Kah Mun Rah’s attempts to conquer the world – and Daley’s attempt to stop him – score some very good laughs. This is an opportunity, really, to just let go of the formality that comes with making a movie and relax into a good time, just like Hank Azaria does when he channels Jeremy Irons, adds a lisps, and smiles his way giddily through his role as lead baddie.
Yet there is also genuine sweetness in the scaffolding supporting the gags. Where the first film was all about Larry finding in himself the motivation to pursue his dreams, this second outing finds him confronting the old adage of being careful for what you wish for and separating out real wealth from the merely material. It’s not Shakespeare, or anything we haven’t seen before in countless big-action films, but the lack of cynicism and laid-back vibe makes it work. And like the “National Treasure” films, these “Night of the Museum” confections manage to be about something more than the gags or action. There’s a love of museums at work (or is that play?), a perspective that visiting the museum is an opportunity to engage imaginations and create interest in history, science, culture, art. The film may be pure fluffy entertainment, but surprisingly it’s more than that – enough to be simultaneously disposable and memorable.
Entertainment Value: ** (out of two)
Technical Quality: * (out of two)
Night at the Museum: Battle of the Smithsonian. Directed by Shaun Levy. Written by Robert Ben Garant and Thomas Lennon. Starring Ben Stiller, Amy Adams, Hank Azaria, Owen Wilson, and Steve Coogan. 105 minutes. Rated PG (for mild action and brief language).
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