With “Peter Pan and Wendy,” Disney sets out to bring the boy who refused to grow up into the 21st century — not literally, like those taxing live-action/cartoon hybrids, where computer-generated Sm…
,” Disney sets out to bring the boy who refused to grow up into the 21st century — not literally, like those taxing live-action/cartoon hybrids, where computer-generated Smurfs get loose in Manhattan or Tom and Jerry wreak havoc in a high-end hotel. The studio’s latest remake is still set in Edwardian England, the way both J.M. Barrie’s play and the animated feature it inspired were.
Lowery, whose script was co-written with longtime producing partner Toby Halbrooks , doesn’t seem particularly worried about re-creating the earlier cartoon, beyond a few obvious costuming choices: Peter appears in his trademark Alpine hat and tattered green ensemble, John Darling sports a top hat and specs, while kid brother Michael brings a teddy bear along for the ride.
If anything, Peter Pan is the weak link here. Molony plays the forever-young rogue with a curiously serious focus. Peter adamantly resists adulthood, but comes across like a joyless grown-up most of the time, his face stern and lips pinched shut in an expression of seen-it-all cynicism. Somehow, humanizing Hook has the adverse effect of making Peter seem like kind of a jerk.
Surely most adults can relate. Lowery has the tricky task of satisfying them while trying to give younger audiences a formative viewing experience. And so we get certain paradoxes, as when the familiar flight plan — “second star to the right and straight on ’til morning” — takes an unexpected detour through a magic portal in Big Ben tower.
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