Following the considerable popularity of Mr. Bean, it seemed likely we’d eventually see Rowan Atkinson performing his familiar routines in a movie. However, despite the actor's best efforts, things just aren’t quite the same, and occasionally the jokes feel so contrived that they simply fall flat. In this film, Bean secures employment at the National Gallery in London. It appears to be a straightforward job, considering how easily he manages to cause trouble even with basic tasks; he’s a security guard who sits in a chair while visitors wander around. But with Bean, it's almost inevitable that things will become complicated – and the gallery directors are delighted when curators from a California museum decide to acquire a significant painting by an American artist and bring in an expert for a presentation. Bean is the one they most want to keep out of sight, so they don’t hesitate. From there, trouble begins. To be fair, the film is amusing and generally works well. It's a decent comedy, and it also did quite well at the box office – though that doesn’t necessarily equate to quality, since many worse films have also been commercially successful, like “Ted.” There aren't any real flaws to point out. For me, the biggest issue is the audience’s expectations, which were raised too high due to the immense success of the fourteen-episode television series Atkinson created in the 90s. Anyone expecting a similar experience with this film will likely be disappointed; things are different, they don't function the same way, and everything feels a bit more exaggerated and forced. Still, it would have been difficult for an American production to make a feature film about Bean any other way. The filmmakers paid close attention to the sets, cinematography, costumes, and special effects, but these elements remain within the typical range of light comedies released in America at that time; nothing is truly exceptional. Throughout the movie, situations are staged to replicate Atkinson's style of humor, as he tries his best to avoid speaking, though he occasionally has to do so. The actor clearly put a lot of effort into it, but also encountered challenges adapting his formula to an American cinematic style. It’s like trying to dress a child in an adult’s suit: the result is awkward, out of place, and strange, but at least they're dressed. It’s important to acknowledge Peter MacNicoll’s contribution as well. And, naturally, as someone interested in history and art, I must commend the opportunity used to introduce a real and wonderful painting to a wider audience: Arrangement in Gray and Black nº 1 by James Whistler, which can be seen at the Orsay Museum in Paris.

Source on TMDB