He ends up among the claimed, lands aboard a flying pirate ship, and is whisked away to a version of Neverland full of child slaves digging for fairy ore in mines, all overseen by the nefarious Blackbeard ( Hugh Jackman, incorrigibly over-the-top). One night, convinced that the children who leave the orphanage aren’t just being adopted during wartime, Peter stays up long enough to see pirates dropping in through the skylights and abducting kids in their sleep. There, he and his best friend get into all kinds of trouble as the rapscallions scorned by the orphanage’s Mother Superior, as bombs fall around them. Woe for the alternate timeline where gritty remakes ended with Batman’s voice dropping an octave, but then that’s a bit of a digression.īefore the film gets around to anything resembling the Pan tale most know, there’s a preamble framing Peter ( Levi Miller) as a young boy living in a London orphanage during World War II. Whatever it is, here’s Pan, the grittier, overexposed origin tale of how Peter Pan came to be Peter Pan that aims to tap into the boundless market of viewers who like when everything is explained in painstaking detail as it relates to a fantastic universe where children can fly and fairies are the key to eternal life. Others may say that it’s a general phobia on the part of creators or audiences or both to take in new and original stories, instead preferring to hedge their bets on something familiar to them told anew. The source of this really depends on who you ask for some, it’s the proliferation of superhero movies that spurred on studios’ interest in going back to the roots of popular characters. We live in the age of origin stories now.
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