Nanny McPhee e as Lições Mágicas

Emma Thompson takes us back to the colourful world of Nanny McPhee. This time Nanny McPhee has a mission with a new family. I loved the first movie. Not only was it a refreshing tribute to classics like Mary Poppins, but it had heart and magic and its world looked surreal, a splendid movie for the entire family.

Here too the world is just as colourful and surreal and looks like a fun place. Yes, even Isabel's muddy farm looks like an enjoyable place to live at. The creativity in writing and art direction amuses me, for example, watching those piglets lying in the scratch machine was cute and hilarious. The new animal characters, especially the baby elephant, are a delight. The lighting and slightly yellowish tint gives 'Nanny McPhee and the Big Bang' a very sunny look. The humour works very well as it had me laughing out loud on various occasions.

However, unlike in the first movie, the story here felt rushed and there were some inconsistencies. The bomb sequence, as entertaining as it was, wasn't necessary and it only distracted from the main story. The child actors here are competent but their counterparts in the first film performed better. While the special effects here are very good they didn't appear as authentic.

Emma Thompson reprises the title role and she does a fine job. She mostly takes the backseat while letting the other actors perform. Maggie Gyllenhaal shows a knack for comedy and her English accent sounds authentic. Maggie Smith is a riot. Rhys Ifans does well as the greedy uncle.

'Nanny McPhee and the Big Bang' may not measure up to 'Nanny McPhee' but it's still a lot of fun and a good watch for the family. I was smiling after it finished (watch it through the closing credits as there's a very cute surprise).

If you've seen the first Nanny McPhee movie, then you know the premise of the second: A harried single parent (this time a woman played by Maggie Gyllenhaal) is overwhelmed by her three children plus two cousins from London who come to stay at her small farm. World War II is raging, her husband is somewhere in the battle theater, and her brother-in-law (Rhys Ifans) wants nothing more than to sell the family farm out from under her.

Just as poor Isabel Green wonders how she'll manage to make a payment on the tractor, get the crops in, keep her senile boss (Maggie Smith) from destroying the store, fend off Phil Green's efforts to get her to sign away her rights to the farm, and still take care of five children, Nanny McPhee (Emma Thompson) arrives on the scene.

Nanny McPhee, of course, takes the children promptly in hand and wastes no time teaching them the lessons they need to learn. If Isabel and Phil learn something along the way, so much the better.

The script is fairly silly (penned by Emma Thompson, it's aimed at a very young audience), though it does have its occasional moments of cleverness and poignancy (and one especially silly moment that I must confess was hysterical no matter your age). There's also a heart-rending tie-in to the first film.

The acting is quite good though melodramatic (which, in fairness, is entirely appropriate here). As an aside, Maggie Gyllenhaal's English accent is pretty convincing! The children are just fine, but I must single out Eros Vlahos (who plays cousin Cyril) and Lil Woods (in the role of Megsie Green). Maggie Smith is, of course, her usual stellar self, and Emma Thompson manages to play a caricature of a character without overdoing it at all. A small part for Ralph Fiennes and a cameo from Ewan MacGregor cap off a very capable cast.

BOTTOM LINE: Nanny McPhee Returns was cute, but it wasn't all that good from my own perspective. I'll tell you, though, that every last four, five, and six year-old in the theatre giggled, gasped, laughed, and cooed right when they were supposed to. While I can't recommend this movie for your own grown-up (or even teen-agers') night out, your younger kids will just love it.

POLITICAL NOTES: Although Nanny McPhee Returns takes place during World War II and mentions of the war feature prominently, no details of the reasons for the fight or any political judgments whatsoever are made. Given the nature of that particular conflict, I'd say that there was some real skill exercised in writing about it!

FAMILY SUITABILITY: Nanny McPhee Returns is rated PG for "rude humor, some language and mild thematic elements." Frankly, children young enough to enjoy this movie take especial delight in rude humor like that exhibited here, and the mild thematic elements will likely be largely above their heads. Any real concerns should be easily addressed by Mom or Dad after the movie's over.

The immensely talented Emma Thompson returns to play and write the story of the ultimately wonderful yet outwardly repulsive nanny of the film's title, who assists another desperate single parent by taming their mischievous bunch of spirited youngsters.

The lovely Mrs Green (a perfectly charming Maggie Gyllenhaal) becomes burdened with looking after the family estate, a farm in the English countryside, and her sister's children (Eros Vlahos and Rosie Taylor-Ritson) as well as her own (Asa Butterfield, Oscar Steer and Lil Woods) when her husband (a wordless yet productive Ewan McGregor) goes to war.

The children take advantage of her current frenzied state by squabbling, playing dangerously, making a mess of the house and just generally misbehaving. There is also her scheming brother-in-law Phil (Rhys Ifans at his erratic, despicable, scraggly best) seizing opportunities to prise the ownership of the farm out of her hands, and into those of two ghastly female brutes (a spine-tingling pair of Katy Brand and Sinead Matthews actually evoke sympathy for the villainous Phil) who are relentlessly terrorising him.

To add to her stress, her elderly employer Mrs Docherty (a delightfully senile Maggie Smith) cannot be left alone in her own shop, for fear of disaster.

These are all perfect conditions for the snag-toothed hag with that distinctive silhouette to walk into, and she does just as things are at their most chaotic.

There is no doubt that the cast are superb, and the undisputed highlight of the whole picture. Thompson's reprisal of the role is a joy to behold, with all of the wisdom and subtlety that we saw before, but this time showing more of a range as she experiments with comic moments and more human emotions. Here we also begin to see more of the extent of her mysteriousness. The children also have wonderful chemistry, and emit infinite sparkling charm and innocence with every frame.

Though if only Thompson's acting was again as sharp as her writing, or if only director Kirk Jones had also returned to the project to guide her. The new setting is quite unsuitable, and derails the film in many ways. Gone is the cosy small English village of the original. Gone also is the simplicity, the warmth, the storytelling magic that seeps through from Christianna Brand's original storybooks. These are all sorely missed, as well as those wonderful original characters – Mr Brown, Aunt Adelaide, Evangeline, Mrs Blatherwig, Simon... – and the outstanding actors who played them with such liveliness – Colin Firth, Angela Lansbury, Kell Macdonald, Imelda Staunton, Thomas Sangster... – who inarguably surpass the new faces, however delightful they may be. It might have been thought that bringing them all back would have been tacky, but that would merely have been more faithful to the books, in which Nurse Matilda makes recurring visits to the Brown household after the children have gone back to their old ways. There is however a single scene containing this precious nuance and poignancy, with Ralph Fiennes excelling as a distant father hardened by the war.

Another of the original 2005 film's many virtues was its wealth of sub-plots and dimensions. Clearly this multi-layered quality has been attempted to replicate, but here the layers that have been added on top of the children's lessons are incredibly hackneyed and childish. It is of course a children's film, but Nanny McPhee had an appeal to adults as well as children, while Nanny McPhee and the Big Bang is more juvenile than it needs to be. Phil's efforts to obtain the farm for his tormentors is a typical side-narrative seen countless times earlier, as is that of the long-last father gone to war. Indeed the incorporation of World War II shows enormous misjudgement, with the heavily restricting boundaries of a film for small children preventing the huge event from being done justice.

The nauseatingly corny and clichéd excuse for a climax is the icing on the cake of Susanna White's horribly naive direction, which unfortunately – together with Thompson's rather sloppy script – represses her and the rest of the remarkably adept cast, tragically capping their potential.

Still, it makes for some amiably enjoyable kids fodder, and thankfully it did not keep Thompson from finishing her role in the Harry Potter series.

Emma Thompson once again pens and stars in the candy-coloured film adaptation of the children's' books by Christianna Brand, following a very strict and very ugly nanny who brings order and manners to a household full of naughty children. This outing sees the titular character nursing a farmhouse family whose father is off at war. The mother, played by Maggie Gyllenhaal is obliged the sell the land to her nasty brother (Rhys Ifans), a slimy character who will not rest till he gets his way. Meanwhile the children's' vile London cousins come to stay - two little brats who bawk at the state of the earthy farm abode.

Enter Nanny McPhee - an otherworldly being who appears when a family needs her most - squashed-nosed and snaggle-toothed, she calmly teaches the children five important lessons, though when things get out of hand she must employ the same supernatural technique of setting down her walking stick as she did in her previous adventure, and to spectacular effect. Nanny McPhee attempts to set the household to rights using these very methods, while the family struggle on with their visitors and hope against hope that their father will return.

Thanks to Emma Thompson's involvement, the film boasts a impressive array of British thespians including Maggie Smith, Ewan McGregor and Ralph Fiennes as a senior WW2 army officer. Though characterisation is hardly profound in a story such as this, each actor has their moment to shine - and Gyllenhaal, as the young mother, sports a flawless British accent and conveys her trademark maternal emotion when needs be. Production values are stellar, with all the period details on display. The film whisks along at a nice pace and never gets bogged down in one place - Thompson's adaptation is wrought with real warmth and wit, and once again she works wonders on-screen under layers of prosthetics, with every wry glance and raise of the eyebrow worthy of a laugh.

Setting the story of against the backdrop of World War II is very smart move - the 'big bang' in the title referring to the imminent threat of bombings during this time period. This gives the film a foundation of realism that the previous movie lacked....however, there's little room left for war time misery in the thematic threads of this story - you're more like to find a group of piglets doing synchronised swimming than any sign of a swastika.

Ultimately this is a family film, written for children - talking to them, not at them and carrying a very sensitive message at its heart. There are no double-entendres for the adults the snigger at, this is harmless entertainment at its best. It may not be a new classic but it's nice to see something like this making its way to our screens during the Easter break.

I don't know what the critics here were expecting, but from some of the reviews I've read it seems that it wasn't a kids' film. In short, this is a lovely, well-written, beautifully cast film that's executed with great affection and makes maximum use of its chocolate-box locations.

Emma Thompson, aside from having no little talent for scriptwriting, is savvy enough to understand that the real stars of this film are the children and, in particular, Asa Butterfield and Eros Vlahos as Norman and Cyril respectively.

Rhys Ifans shows what an accomplished comic actor he is, even if his performance as Uncle Phil seems to draw much, both in characterisation and delivery, from that of Matt Dillon's portrayal of Healy in There's Something About Mary.

There's a lovely turn from Maggie Smith as Mrs Docherty and a reassuringly exuberant performance from Sam Kelly.

If there's a lull, it's when the action moves away from its countryside setting, although the scene played between Vlahos and Ralph Feinnes works nicely.

At a little under an hour and fifty minutes, it's quite long for children, yet my five- and eight-year-olds sat transfixed throughout. And in the end, that should be the yardstick by which any film aimed at younger cinema-goers should be measured.

As to Thompson herself, she is sublime when required, understated when the surrounding action demands. The reviewer who likened her performance to that of Roger Moore does not, I would suggest, appreciate either the characterisation of the Nanny McPhee role (much can be, and is, portrayed by simple facial expressions) or the very real acting ability of our erstwhile Bond. Comedy isn't all about snappy one-liners and the ability to convey comedy simply by saying nothing is an art in and of itself.

In the final analysis, this is a better film than its predecessor. It is more lovingly-crafted, less fantastic in the literal sense and more sharply observed. Watch it for what it is - a modern take on the old Mary Poppins story - and you won't be disappointed.