![]() ![]() Peter Pan comes across as a pest, and when Wendy belts the movie’s thesis - “This magic belongs to no boy!” - it hits the ear like a distracting clang. Still, these well-meaning choices struggle to cohere into a satisfying picture. He and the cinematographer Bojan Bazelli pay it tribute with their use of moody skies, striking shadows, unexpected camera angles and a darkly beautiful color palette that shimmers like jewels in a cave. ![]() Lowery clearly adores the look of the cartoon. The fairy is now merely given a camera trick - Tinkervision - a blurred, jittery point of view that has its best moment when she flies through blood spatter. ![]() The girl-powering of the plot means scrapping the catty mermaids, the glimmer of a love triangle with Tiger Lily (here played by Cree actress Alyssa Wapanatahk) and pretty much everything interesting that Tinkerbell (Yara Shahidi) once got to do, including her multiple attempts to murder Wendy. In addition to including a traumatic back story for Captain Hook, they add two lovely reveries on aging: a montage in which Wendy savors her youth and another where she’s tantalized by the prospect of growing up. Barrie would tell George and Jack Llewyllen-Davies - the original lost boys. Barrie’s perennially popular play Peter and Wendy and Disney’s 1953 animated classic Peter Pan and merge them into the best-looking, least. Peter Pan was inspired by the authors friendship with the Llewelyn-Davies family. Having stripped out the questionable or merely dubious themes, he and his co-writer, Toby Halbrooks, are left with many minutes to fill. The mission here seems to be to take J.M. ![]()
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