Pan (2015)
Directed by Joe Wright
Living a bleak existence at a London orphanage, 12-year-old Peter finds himself whisked away to the fantastical world of Neverland. Adventure awaits as he meets new friend James Hook and the warrior Tiger Lily. They must band together to save Neverland from the ruthless pirate Blackbeard. Along the way, the rebellious and mischievous boy discovers his true destiny, becoming the hero forever known as Peter Pan.
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11 films that influenced Pan
What critics say influenced Pan
Sin embargo, aquí nunca se encuentran, por cada momento visualmente inspirado hay un número musical donde esclavos cantan ¿Smell Like Teen Spirit?, de Nirvana, como si estuvieran a mitad de Moulin Rouge! (2001).
Even the film’s more idiosyncratic, “crazy” elements feel borrowed: Blackbeard and the pirates are introduced singing “Smells Like Teen Spirit,” which suggests that Wright has either never seen Moulin Rouge! or really, really loves Moulin Rouge!
At least Hedlund has a mark to hit; as Blackbeard, Jackman doesn’t quite know whether he wants to be camp or menacing or Dustin Hoffman, and his introduction is either an insult to Baz Luhrmann or posits that no one involved in the production has ever seen Moulin Rouge!
It’s far from the only baffling decision in “Pan,” director Joe Wright’s (“Atonement”) apparent attempt to do a Baz Luhrmann (“The Great Gatsby”) version of several Disney rides at once.
The guys who gave us “Brazil” and “Time Bandits,” of “The Great Gatsby” and “Moulin Rouge” might have been able to pull off a Peter Pan prequel with re-purposed pop hits, shot on sets and locations left over from “Mad Max.”
Wright spends more time on another recreation of 2001 cinema, copying the shot from “Pearl Harbor” that follows a deployed bomb during its entire descent.
Pan can be read as a death dream where children killed by a German bomb--shown in loving Pearl Harbor high-to-low tracking shot--enact a fantasy of salvation at the moment of their expiration.
The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005)
Directed by Andrew Adamson
Visuals
Pan rifles through too many literary and cinematic influences, borrowing from Terry Gilliam’s oeuvre, The Chronicles Of Narnia and The Buccaneer , but it never quite manages to thread these things together convincingly enough to entirely pull it off.
The opening of Wright’s take on the now classic Peter Pan story owes a lot to Andrew Adamson’s Narnia films and The Wizard of Oz, positing a slate grey world full of bombs and misery which will soon give way to land of wild color and wilder lunacy.
This has a pleasantly grim outcome not seen in children’s films since the days of “Time Bandits,” but the film has no room nor the capacity to slow down to honor it.
The guys who gave us “Brazil” and “Time Bandits,” of “The Great Gatsby” and “Moulin Rouge” might have been able to pull off a Peter Pan prequel with re-purposed pop hits, shot on sets and locations left over from “Mad Max.”
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"Pan" could definitely frighten very young children in a similar (if not quite as intense) fashion as 1985's "Return to Oz."
Email 15 Books That Scored Better Big Screen Titles -- 'Cruel Intentions,' 'Die Hard,' 'Goodfellas' (Photos) Based on William Shakespeare's "Taming of the Shrew," the adaptation starring Julia Stiles and Heath Ledger brought things to the present day and gave it a more timely title, "10 Things I Hate About You."
Still, in this pit we meet all but one of the future figures who’ll feature prominently in the Peter Pan legend, most notably Smee (Adeel Akhtar) and Hook (Garrett Hedlund, turning in what represents a solid audition piece for the next Indiana Jones film, albeit with an accent borrowed straight from There Will Be Blood ’s Daniel Plainview).
As part of Hollywood's continuing quest to churn out familiar tales without having to cut checks to authors, Warner Brothers and director Joe Wright ("Hanna," "Atonement") have concocted an origin story for J.M. Barrie's beloved, eternally juvenile, and public-domain character.
(ScreenPlay) Wright has made good films ("Atonement") and mixed-up, crazily theatrical ones ("Anna Karenina").
The director once used to loosen a couple corset strings in period pieces (“Pride & Prejudice,” “Atonement”) before letting his freak flag fly in “Hanna” and the busy “Anna Karenina.”
It’s hard to believe that this is the same filmmaker who gave us “Atonement,” “Anna Karenina” and the sadly overlooked “Hanna.”
“Not large and sprawly, you know, with tedious distances between one adventure and another, but nicely crammed”: such was Barrie’s own account of Neverland, and “Pan”—Wright’s best film so far, livelier and more disloyal to its source than “Atonement” or “Pride and Prejudice”—crams without a care.
Director Joe Wright (Atonement) demonstrates little feel for the fantastic material, setting a slow, plodding pace and eliciting zero chemistry from his cast; the rare moments of levity feel woefully forced.
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Later, they're attacked by Blackbeard and his men in Tiger Lily's (Rooney Mara) tree village, which looks like Eli Roth's cannibalism tale "The Green Inferno" by way of Cirque du Soleil.
A resposta é que qualquer tópico, por mais batido que seja, pode ser revigorado por uma abordagem criativa – e é justamente isto que ocorre nesta nova obra comandada por Joe Wright a partir de um roteiro original escrito por Jason Fuchs (responsável pelo pavoroso A Era do Gelo 4): imaginando as circunstâncias que levaram Peter Pan (Miller) à Terra do Nunca e à sua relação com o Capitão Gancho, o roteirista cria uma história de origem que nem sequer sabíamos ser necessária, mas que se mostra envolvente e respeitosa às criações de J.M. Barrie.
P.J. Hogan laced his big-budget visit to Neverland in 2003’s “Peter Pan” with a dark undercurrent of Freudian sexuality, including a bombshell Tinker Bell.
But just as P.J. Hogan's similarly grandiose and ambitious Peter Pan surprisingly flopped in 2003, this one may also be headed for a low-altitude flight.
I imagine it’s fine for kids (though I’ve seen it suggested that it’s too disturbing), but, all in all, you’d be better off breaking out P.J. Hogan’s 2003 Peter Pan, which manages to be whimsical, stylish and a little dangerous.
At this point a straight-up “Peter Pan” adaptation — like “Peter Pan,” from 2003 — would be more daring than yet another origin story, which, alas, is what this tricked-out, lavish fantasia is.