2011’s The Smurfs became that franchise’s first big-screen adventure in the US and the first of three films from Sony Animation. With 2025’s Smurfs, the characters leap to Paramount and a reboot of sorts.

No Name Smurf (voiced by James Corden) exists as the only Smurf without his “own thing” – ergo, his lack of clear moniker. Eventually he appears to display mystical powers and these make a big impression in Smurf Village.

And elsewhere, as nasty wizard Razamel (JP Karliak) – brother of Smurf mortal enemy Gargamel (also Karliak) – detects No Name’s magic and uses that as a way to track the Smurfs and abduct Papa Smurf (John Goodman). Along with Smurfette (Rihanna) and others, No Name needs to venture to the “real world” to rescue Papa.

Earlier I referred to this 2025 Smurfs as a reboot, but that description may become a stretch. While the movie doesn’t show obvious connections to the three Sony flicks, it also doesn’t “start over” as one might assume a formal relaunch would.

Instead, it picks up in Smurf Village without any real context, so it doesn’t try to introduce the characters and concepts. That said, I don’t think the 2011 flick did a lot to educate new viewers either.

Whatever we want to call the 2025 Smurfs, it hearkens back to the mix of animation and live-action seen in the 2011 movie and its 2013 sequel - sort of. The final of the three Sony efforts, 2017’s Lost Village stayed fully in the cartoon realm.

While the 2025 Smurfs brings back some live-action elements, these components remain background. Whereas the 2011 and 2013 flicks enjoyed prominent human characters, those exist as window-dressing here.

Honestly, I can’t find much real reason for Smurfs 2025 to include any live-action participants or settings. I guess these add a little verisimilitude when the Smurfs come to the “real world” but otherwise they lack much purpose.

In any case, I went into Smurfs 2025 with pretty low expectations. It got iffy to weak reviews and I maintain no real affection for the franchise as a whole.

As I mentioned when I wrote about the 2011 film, I was too old for Smurfs when they broke through to the US marketplace in the 1980s. That left the 2010s movies as my real introduction.

While the 2011 flick surpassed my expectations, I still thought it seemed only modestly entertaining at best. The 2013 and 2017 sequels couldn’t even reach that level and turned into forgettable to bad experiences.

Even with the change in studio behind the 2025 flick, I still didn’t think it would bring anything to improve upon its Sony predecessors. Happily, the new iteration became fairly enjoyable.

The 2025 Smurfs brings in veteran Shrek franchise director Chris Miller and also uses Pam Brady as screenwriter. Best known for her work on South Park and other collaborations with Trey Parker and Matt Stone, I think Brady’s script creates the biggest reason this film works so much better than the prior ones.

No, this doesn’t mean Smurfs ever veers outside of its “PG”-rated box. It remains firmly safe for young kids, so Brady doesn’t bring the outrageous and often offensive South Park mentality with her to this project.

However, Brady does manage to add some real weirdness to the proceedings. She plays with the Smurf universe in a manner that may still seem innocuous but nonetheless comes with moments of inspired silliness.

I don’t want to oversell this side of things and make it sound like Smurfs turns into something persistently creative or irreverent. Nonetheless, it throws more than enough wacky curveballs at the adult viewer to create engagement.

We find a more than capable voice cast as well. In addition to those already mentioned, we get a roster that includes Nick Offerman, Amy Sedaris, Natasha Lyonne, Dan Levy, Octavia Spencer and plenty more recognizable actors.

All add charm to their roles. Sure, they’re overqualified but that helps ensure a level of quality I wouldn’t expect from a flick like this.

Again, I don’t want to wander out on a limb and make it sound like 2025’s Smurfs offers a cinematic classic. Nonetheless, it comes with more charm and wit than I expected and easily turns into the best film from this franchise.

Footnote: a tag scene appears during the end credits that teases a sequel.

Smurfs appears in an aspect ratio of 2.39:1 on this Blu-ray Disc. Expect a terrific visual presentation.

At all times, sharpness excelled. The film offered tight, concise imagery without a hint of softness along the way.

I saw no signs of jagged edges or shimmer, and edge haloes also failed to appear. In addition, source flaws never created distractions.

Colors offered quality material, as the movie’s palette came across with punch. The settings and characters came with a lot of variety to add spark to the proceedings.

Blacks seemed deep and dense, while shadows were smooth and clear. This turned into a top-notch image.

Downconverted to Dolby TrueHD 7.1, the movie’s Dolby Atmos soundtrack added pizzazz to the proceedings. As expected, the action or magical scenes offered the greatest sense of activity and involvement, as those used the elements to swarm and move around the room in an engulfing manner.

Other sequences created a good sense of the story as well. Even basic environmental sequences worked well and delivered a nice experience.

Audio quality succeeded as well, with natural, concise dialogue. Music seemed full and rich.

In addition, effects appeared accurate and distinctive, with nice low-end response. The soundtrack suited the film and added excitement.

When we head to the extras, we get a few featurettes. Blue in the Booth spans five minutes, 13 seconds and involves director Chris Miller, editor/animation director Matt Landon, and actors Rihanna, James Corden, Daniel Levy, Sandra Oh, Marshmello, Amy Sedaris, Natasha Lyonne, and Nick Offerman.

This one looks at cast and performances. Despite a lot of the usual happy talk, the actors give us a few good insights about their work.

There’s a Smurf Like Me runs four minutes, five seconds. It involves Sedaris, Rihanna, Oh, Corden, Lyonne, Offerman, Levy, Miller, animation production designer Max Boas and actor Jimmy Kimmel.

We find notes about the various characters. This one leans fluffy, though it comes with a few useful moments.

With A World They’ve Never Seen, we locate a five-minute, 22-second reel. It features Miller, Boas, Landon, Rihanna, and animation art director Margaret Wuller.

The program examines the film’s visual design and animation. Expect another mix of facts and puffy material, though it becomes more substantial than its predecessors.

Composing the Blue occupies four minutes, 31 seconds. We locate remarks from Miller and composer Henry Jackman.

As implied by the title, “Blue” looks at the film’s music. It turns into another combination of insights and praise.

Via In the Club with DJ Snake, we see a two-minute, 56-second piece that involves Miller and musical performer DJ Snake as they look at one of the film’s live-action scenes. It feels superficial and forgettable.

The disc ends with two music videos. We get clips for “Higher Love” by Desi Trill Featuring DJ Khaled, Cardi B, Natania and Subhi and for “Friend of Mine” by Rihanna.

Though the title implies a Steve Winwood connection, “Love” instead offers a semi-cover of Belinda Carlisle’s “Heaven Is a Place on Earth”. It’s not good and the hyperactive video annoys.

As for “Friend”, the song fares better – well, a little, as it becomes annoying the longer it goes. The video basically just revolves around movie clips with live-action Rihanna bookends.

No one should expect an animated classic from 2025’s Smurfs. However, the movie boasts a terrific class and enough cleverness and wit to make it pretty enjoyable. The Blu-ray provides excellent picture and audio with a meh roster of supplements. Smurfs works as family fare for kids and adults.