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    Movie Review

    New live action Peter Pan & Wendy has just the right amount of fairy dust

    Alex Bentley
    Apr 28, 2023 | 10:44 am

    The tale of Peter Pan has been told and retold so many times in multiple forms, whether it’s in books, theater, TV, or movies, that it is one of the most familiar in all of storytelling. In addition to the classic 1953 Disney animated film, there have been numerous live action adaptations, although – until now – not one done by Disney itself.

    That changes with Peter Pan & Wendy, making its debut on Disney+, a film that uses the familiar to expand the story in a host of ways. As the film begins, Wendy (Ever Anderson) is getting ready to go off to boarding school, pretend playing what she and her brothers, John (Joshua Pickering) and Michael (Jacobi Jupe), believe is the fictional story of Peter Pan and Captain Hook. Their minds are blown when not only do Tinker Bell (Yara Shahadi) and Peter Pan (Alexander Molony) actually show up, but then also whisk them away to Neverland.

    Once there, they encounter Captain Hook (Jude Law), Smee (Jim Gaffigan), and their crew of pirates; a diverse group of Lost Boys (and girls); and Tiger Lily (Alyssa Wapanatâhk), an indigenous girl who often comes to the aid of Peter and the Lost Boys. All involved go through a series of adventures in Neverland, with more than a few surprises along the way.

    Written and directed by David Lowery (Pete’s Dragon), with help from co-writer Toby Halbrooks, the film touches on many of the recognizable elements of the original animated film, but does so in a way where the reverence is not the point. Lowery and his team insert details like John’s ever-present top hat, a hint of the music from “You Can Fly…” when Wendy flies for the first time, and the gigantic crocodile that torments Captain Hook, but each of these and more serve only as reminders what’s been seen before instead of being the focus of the film.

    What truly makes the film sing is letting Wendy take the lead. No shrinking violet who’s merely in awe of Peter Pan and everything in Neverland, this Wendy challenges the cocky Peter and has a maturity that allows her to be both in control at almost all times and empathetic to everyone around her. In a similar vein, Tiger Lily goes from a non-speaking role to a strong character who speaks in Wapanatâhk’s native Cree language and plays the hero more than once. Giving Wendy and Tiger Lily more to do makes the story even more adventurous than it already was.

    The film as a whole is remarkably inclusive, but done in such a way that feels completely natural. As mentioned, the Lost Boys also includes a few girls, as well as a boy with Down syndrome, but each of them is highlighted without making a big deal of their presence, making them simply part of the group. The pirate crew, while mostly anonymous, also has a nice multicultural blend to it.

    Lowery also makes a point to go beyond the “good/bad” dynamic between Peter and Hook. They are antagonistic toward each other, to be sure, but their relationship is given a backstory that not only explains their enmity, but also gives it an unexpectedly emotional bent. Lowery plays both sides of the fence well, delivering the fun of Peter and Hook facing off while also allowing both characters to be three-dimensional characters.

    The way Anderson commands the film, they probably should have named it Wendy & Peter Pan. The young actor announces herself in a big way here, and should she want it, you’re likely to see much more of her in the coming years. Molony is a serviceable Pan, although he’s not quite as dynamic as previous actors in the role. Law makes for an outstanding Hook, especially given the new demands on the performance. And Wapanatâhk does a lot with a relatively small amount of screen time.

    Given the proliferation of Peter Pan adaptations through the years, you may not think you need to see another version. However, Peter Pan & Wendy bucks the trend of bad live action updates of Disney’s animated films, sprinkling just the right amount of fairy dust on the story to make it feel new again.

    Alexander Molony, Ever Anderson, Joshua Pickering, and Jacobi Jupe in Peter Pan & Wendy

    Photo courtesy of Disney

    Alexander Molony, Ever Anderson, Joshua Pickering, and Jacobi Jupe in Peter Pan & Wendy.

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    Peter Pan & Wendy is now streaming on Disney+.

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    Movie Review

    Korean film No Other Choice uses dark comedy to tell deeper story

    Alex Bentley
    Jan 9, 2026 | 11:40 am
    Lee Byung-hun in No Other Choice
    Photo courtesy of Neon
    Lee Byung-hun in No Other Choice.

    When Parasite won the Oscar for Best Picture in 2020, it signaled a shift in how international feature films were viewed not only by Academy voters, but also American filmgoers, who made it the fifth-highest grossing non-English language film of all time. Extra attention has been paid to other international films in the intervening years, including the new South Korean film, No Other Choice.

    Starring Lee Byung-hun of Squid Game fame, the dark comedy chronicles the increasingly desperate actions of Man-su, a middle manager at a paper factory who is laid off due to automation. After months of trying to find a job at another paper company, he finally finds a good prospect only to learn that several other men may be better candidates. Man-su decides that the only solution is to eliminate the competition.

    The only problem is Man-su is a bit of a coward; an early plan at standing up to his company in the face of the lay-offs meets an anticlimactic end. His wishy-washy ways seem to permeate his life, from putting off treatment on a painful tooth to not communicating with his more willful wife to actually going through with his vengeful ideas. He bumbles his way through every aspect of his life, virtually daring anyone to call him out on his poor decision-making.

    Written and directed by Park Chan-wook, and co-written by Lee Kyoung-mi, Don McKellar, and Jahye Lee, the film initially seems to be another approach toward telling the class division story that’s at the center of Parasite and Squid Game. And it is that to a degree, as those in charge of the paper companies and the hiring committees are either indifferent or unsympathetic to the plight of those who have been forced out of work.

    But the more we see of Man-su, the more it becomes clear that his is a story all its own, one where a man claims there is “no other choice” when in fact there are plenty of other options. The men in the film in general don’t come across well, with many of them reacting to stress by turning into whiners who believe the world is out to get them. Some situations turn violent as the film goes along, events that most of the time could have been avoided if the people involved actually took the time to think things through.

    The film features a somewhat confusing story made even more puzzling if you don’t speak Korean. On first viewing, it’s initially unclear why Man-su is doing what he’s doing, or why he’s going after certain people in particular. The plot becomes more understandable as the film progresses, but Chan-wook includes several side plots that muddle things further even as they broaden certain characters. There are also a couple of visual text jokes that can easily be missed if you don’t know where to look.

    Byung-hun is great as a man who can’t seem to get out of his own way. The role is almost in direct contrast to the one he played on Squid Game, making it easy to see how well he can adapt to different stories. Son Ye-jin as Man-su’s wife Miri and Lee Sung-min as Bummo, one of Man-su’s intended victims, are also highly engaging.

    Like any film not in English, No Other Choice requires viewers to pay strict attention to the screen to get full enjoyment of the actors and their dialogue. While it doesn’t hit as hard as a comedy because of this factor, it’s still a greatly entertaining film whose underlying message makes it become a little deeper.

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    No Other Choice is now playing in theaters.

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