Tinker Bell and the Pirate FairyTinker Bell is one of Disney’s great mascots, a symbol of the enchantment that has illuminated the studio for decades. However, having been involved in a number of unmemorable spin-off’s, sadly we have another one to add to the list, as Peggy Holmes presents The Pirate Fairy. Though managing to comprise a voice cast consisting of Christina Hendricks and Tom Hiddleston, we spend too much time referencing its originator, Peter Pan, feeling too contrived in the process. If there is one thing you should try and avoid, is to draw too many comparisons to one of the greatest animations ever created, as it seeks only in highlighting this very film’s shortcomings.

Hendricks voices Zarina, an enthusiastic and inventive fairy, who is determined to discover the true power and potential of pixie dust, and create new colours and formulas to see what the magical powder is truly capable of. However when her resourceful antics land her in trouble, she is banished from Pixie Hollow. A while later, Tinker Bell (Mae Whitman) and her fellow fairies are alerted when the most powerful pixie dust of all is stolen from their kingdom, and when they chase the perpetrator, they discover that Zarina has since turned to a life of piracy, and intends of assisting her new friend Captain James Hook (Hiddleston) in his dastardly endeavours, leaving it down to Tinker Bell to persuade her old friend to come back home.

The Pirate Fairy is the ultimate story of the underdog, with six minute fairies, about the size of a mere thimble, taking on a gigantic ship full of bullish, intimating pirates. As such as it makes for an entertaining watch – as any good underdog story should do – yet the film is lacking in any real depth. The key problem here, is Tinker Bell herself, as she has so little noteworthy personality traits. One of the greatest things about Peter Pan is her mischievous ways, ripe with jealously whenever Peter gets close to other women. However in this particular offering she is devoid of any of that sassy, insolence or distinctive character. Instead she’s dull and completely forgettable in every respect. Fortunately the same can’t be said of Hook, as Hiddleston, though underused somewhat, shows off his vocal range, as his unique articulation and pronunciation embellishes this nasty, iconic villain.

In the meantime, there is no denying the vivacious visual aesthetic, staying true to the wonders of the enchanting narrative, so vibrant and colourful. Such a notion is enhanced by our director too, as Holmes is famed for her skilled choreography, and there’s a real elegance to the way the fairies weave between one another. That said, the animation style itself is underwhelming, particularly in regards to the facial features of the characters. Of course it’s merely a fantasy tale and the humans are not supposed to resemble real people too efficiently, but the style is ugly and they all look like waxwork models, devoid of any palpable expressions or emotions and feelings in their facial features.

Ultimately, The Pirate Fairy is as expected, in a sense that’s it’s mildly good fun and adventurous. Naturally it’s aimed primarily as a young female audience, and although it should be analysed accordingly, this simply doesn’t bring anything new to the character and struggles to compel. There will inevitably be more additions to this franchise, but to be honest, the way these fairies are with their pixie dust, it wouldn’t be too surprising if the next instalment took place at rehab.