“The Super Mario Bros. Movie” is set to pass $830 million at the worldwide box office this weekend, with $1 billion firmly in its sights. Its success is owed to its delivering a visual spectacle and an entertaining story while avoiding the laziness of many comparable films that strip-mine nostalgia without bothering to deliver anything new.

“Take this pudding away,” Winston Churchill once said, “it has no theme.” Adults munching on popcorn often feel likewise about movies aimed at them, never mind the generic sludge marketed to their children. Low expectations have become the norm.  

“Super Mario Bros.,” produced by Illumination, Universal Pictures, and Nintendo, is different. Like rival Pixar’s animated films, it creates a fantasy world bursting with bright colors, conjuring a place you enjoy spending 92 minutes. Absent is the Hollywood trend of dark, muddled, and generically foreboding scenes where it’s difficult to see what’s happening.

Modern films are glutted with politics, so it was a relief to find “Super Mario Bros.” indulges in none of it. This movie could fit in the Golden Age of Animation, when politics was the domain of pundits, politicians, and presidents, not celluloid animals.

Sure, Princess Peach is a “strong female character” who helps save herself, but she’s not a Mary Sue, better than Mario in every way, reducing the male lead to a sidekick in his own movie. She is simply herself. Watching, I was reminded that Dale Arden lent Flash Gordon a hand, too.

Mario’s catchphrase, “Mamma Mia,” might trigger those prone to take offense, as would the stereotypical Italian accents he puts on for a commercial, but “Super Mario Bros.” evokes more tolerant times, when such silliness was shrugged off in service of comedy.

Princess Peach, voiced by Anya Taylor-Joy, and Mario, voiced by Chris Pratt, are partners. Together, they face off against Jack Black’s giant turtle, Bowser, who — even as the film’s villain — gets more character development than many three-dimensional counterparts.

Seth Rogen performs Mario’s video game nemesis, Donkey Kong, a name born when Japanese programmers mistranslated the word “monkey,” and his antagonistic relationship with Mario echoes classic buddy films like “48 Hours.”

Maybe I was the only child who loved when Tom and Jerry joined in common cause, but the evolution of Mario and Donkey Kong into bosom buddies after years of battles fought one quarter at a time warmed my heart. That Mario and Kong both seek approval from harsh fathers may remind parents that children need encouragement.

When Mario’s father tells him, “You don’t leave a steady job for some crazy dream,” it’s sturdy wisdom, but Mario’s triumph demonstrates that sometimes parents are wrong and, as John Candy said in “Uncle Buck,” “I don’t think I want to know a 6-year-old who isn’t a dreamer.”

Another theme of the film is Mario’s height, with even Princess Peach calling him “very, very small.”  He may be diminutive, yet he prevails. This invokes the timeless lesson of Dr. Seuss’s “Horton Hears a Who,” with its refrain, “A person’s a person no matter how small.”

The soundtrack entertains, too, with ELO, A-ha, and AC/DC complementing the action rather than feeling shoehorned into place. The Beastie Boys’ “No Sleep ‘Til Brooklyn” both emphasizes the brothers’ origins and foreshadows their tireless efforts to overcome obstacles.

Screenwriters squeezed every detail of the game for maximum effect. In less talented hands, that Mario is required to eat mushrooms might have been left there. By showing him grimacing at them in his spaghetti, a fresh character trait emerges. These are the details that can make even animation feel authentic. 

Koji Kondo’s song for the 1985 Nintendo game that inspired the film — and that recently became the first such score added to the National Recording Registry — is both nostalgia done right and the perfect way to start the film.

It’s also nice to see heroes who are tradesmen rather than superhumans. Mario and his younger brother, Luigi, are plumbers. Mario obtains super abilities by powering up as in the game, but this plot device is employed with restraint. That he never quits is what carries him through to victory.

Thousands of talented artists have produced in “Super Mario Bros.” a film that both entertains and educates. The plot may be familiar, and tickets cost more than a quarter, but the pudding is well worth the price.