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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

    Eye-popping I Love Boosters takes aim at fashion and social issues

    Alex Bentley
    May 22, 2026 | 3:00 pm
    Naomi Ackie, Keke Palmer, Poppy Liu, and Taylour Paige in I Love Boosters
    Photo courtesy of Neon
    Naomi Ackie, Keke Palmer, Poppy Liu, and Taylour Paige in I Love Boosters.

    Boots Riley’s first feature film, 2018’s Sorry to Bother You, was an auspicious and audacious debut that challenged viewers both with its subject matter and the visuals it contained. Even though it took eight years for him to put out his second film, Riley hasn’t lost his knack for outrageousness in the almost inexplicable I Love Boosters.

    At its core, the movie is about three women - Corvette (Keke Palmer), Mariah (Taylour Paige), and Sade (Naomi Ackie) - who survive in the world by boosting (aka stealing) high-end fashion and reselling it for more affordable prices. In the surreal world in which the film takes place, their primary target is Metro Designers, a shop that deals in monochromatic clothes and is led by the eccentric CEO Christie Smith (Demi Moore).

    The women’s felonious-but-low-stakes mission is up-ended by the appearance of Jianhu (Poppy Liu), who possesses a machine that shoplifts much better than they ever could. The only difference is that Jianhu is looking to expose the shoddy working conditions in the Chinese factories where Metro Designers’ clothes are made. Inspired, the women join forces on a quest that is as bizarre as it is righteous.

    Riley, who both wrote and directed the film, loves his over-the-top visuals. There are eye-popping elements in almost every scene of the film, from the clothes in the Metro Designers stores to the oddly-slanted floors of Smith’s office to the bold masks worn by the group during one heist. Every weird thing on screen serves a purpose, though, even the transformation of Pinky Ring Guy (LaKeith Stanfield) from an object of Corvette’s desire into a soul-sucker with an unusual method.

    While not quite as pointed as Sorry to Bother You, which had Black characters affecting “white” voices to be more appealing to the general public, the film does take aim at a variety of different social issues. The idea of wealth inequality is front-and-center, with Corvette and her friends forced to squat in an abandoned restaurant. The treatment of Chinese factory workers, fashion industry practices and excesses, and more crop up over the course of the film.

    The latter half of the film gets crazier, if that’s even possible. Jianhu’s machine introduces sci-fi elements into the story, with the same circular contraption able to transport, disintegrate, and transform objects or people. Combined with the visuals and storyline, the film becomes something that is both wildly entertaining and also somewhat incomprehensible.

    While the movie has a large cast, Palmer is inarguably the star. With her effervescent acting style and an overall inviting demeanor, she sells every bonkers turn the film takes. Each of the supporting actors gets a moment to shine, but Paige, Ackie, and Moore have the most impact. Stanfield is memorable in a creepy kind of way, but he’s been better in other films.

    I Love Boosters is one of the more outlandish and interesting films to come out in 2026, a long-awaited return from Riley that demonstrates his strong storytelling and filmmaking voice. Even if it’s not clear exactly what’s happening at every turn, the acting and the audacity of the visuals keeps the film extremely watchable.

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    I Love Boosters is now playing in theaters.

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