吴永刚自神话故事中改编，在唯美主义倾向的创作路径中，他的尝试却成熟凝练.
花仙为秋翁严惩地主恶霸，其实质便也是在制造阶段矛盾之后，借助神祇之力赋予斗争的合法性.
而本体的创作理念上，吴永刚仍然倾心于光影造梦的魔力，在末尾近五分钟的段落中，他完整地呈现了天庭众仙的花舞，古典而极富神韵. 老片还是更耐看，一山想容二虎，得做到平起平坐，两位重量级的大腕各占一半天，魅力依旧；除了演员阵容足够吸睛外，节奏很棒，一路惊险营救，争分夺秒，没啥拖泥带水的地方；人性的劣根性和大火的无情导致的悲剧，就是人物形象稍显扁平，也有一些让人容易出戏的地方（毕竟当年技术有限），但有几处葬身火海和意外坠楼的画面看得我触目惊心；即便到了现在摩天楼依旧存在隐患，不可掉以轻心. The new film, “A Trip to Gibberitia” (“Le Voyage en Charabie”), is an original story from Guillaume Mautalent and Sebastien Oursel, though it is still based on the IP and characters of the original books. It’s described as a new adventure that takes Ernest and Celestine back to Ernest’s country, Gibberitia, to fix his broken violin. This exotic land is home to the best musicians on earth and music constantly fills the air with joy. However, upon arriving, our two heroes discover that all forms of music have been banned there for many years – and for them, a life without music is unthinkable. Along with their friends and a mysterious masked outlaw, Ernest and Celestine must try their best to bring music and happiness back to the land of bears..
