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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

Shaun the Sheep gets PG-spooky in new movie for the Halloween season

Alex Bentley
Sep 18, 2026 | 11:50 am
Shaun the Sheep in Shaun the Sheep: The Beast of Mossy Bottom
Photo courtesy of Aardman / Sky UK LTD / StudioCanal 2026
Shaun the Sheep in Shaun the Sheep: The Beast of Mossy Bottom.

Since his introduction over 30 years ago, the Aardman Animations character Shaun the Sheep has been almost as popular as the studio’s flagship characters, Wallace and Gromit. There is never a shortage of trouble Shaun can get into as he leads his flock and proves to be a thorn in the side of his farmer and Bitzer, the farmer’s loyal sheepdog.

His antics lead everyone down some slightly spooky roads in the new film, Shaun the Sheep: The Beast of Mossy Bottom. At first, things are only slightly awry as Shaun and the flock are growing a secret pumpkin patch to have their own jack-o-lanterns. But when the farmer accidentally destroys the pumpkin patch, Shaun tries to regrow it quickly with a Frankenstein-esque experiment.

However, disaster looms when Shaun uses an old bottle of Hair-Gro as the container for the serum he creates. Naturally, the balding farmer uses it on his head, and everyone soon discovers how truly successful it is, with pumpkins growing out of control and the farmer sprouting hair all over his body. Through a series of mishaps, the farmer becomes the titular beast, creating mayhem while Shaun and others try to stop him.

Directed by Steve Cox and Matthew Walker, and written by Mark Burton and Giles Pilbrow, the film goes down just as easy as every other Aardman project has. They get the Halloween vibes started from the opening credits, with things like the sheep doing the “Thriller” dance, and continue the fun throughout, referencing everything from Psycho to Friday the 13th in a nice, PG way.

With no script — every character is mute save for reaction noises — the movie relies on sight gags for its humor, and the Aardman team is endlessly inventive in that respect. Sometimes it’s small things like a sheep using toilet paper rolls as binoculars, and sometimes it’s something like forcing the Bigfoot-like farmer to be shaped into a rectangle as he escapes through a window. But there’s a never-ending stream of such moments, so even if one doesn’t tickle your funny bone, chances are the next one will.

The biggest benefit of the characters not talking is that there’s no need for deep character development. The filmmakers do a great job of giving the basic traits of each character, and then use those attributes to color everyone’s actions for the rest of the film. Shaun is the troublemaker, the farmer is a bumbling fool, Bitzer is preternaturally smart, and the town’s vet is empathetic, and the combination of those characters and others makes for a highly entertaining blend.

Like all Aardman creations, Shaun the Sheep: The Beast of Mossy Bottom is a fun lark that doesn’t make its audience think too hard. With just enough references to keep viewers engaged but not so many as to be overbearing, the film puts its well-worn characters to good use once again, delivering a Halloween season story that can be enjoyed by people of all ages.

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Shaun the Sheep: The Beast of Mossy Bottom is now playing in theaters.

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