--- title: "Hook" year: 1991 kind: "film" canonical: "https://film.one/film/hook" fi1m_id: "hook" imdb_id: "tt0102057" tmdb_id: 879 wikidata_id: "Q646389" fi1m_score: 56 critics_score: 50 critics_reviews: 14 published: "2026-09-13" updated: "2026-09-18T08:38:15.223656+00:00" region: "US" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # Hook (1991) Directed by Steven Spielberg · 2h 22m · MPA PG · Adventure, Fantasy, Comedy, Family ## Identity Hook - **Canonical:** https://film.one/film/hook - **Type:** Film - **Fi1m ID:** hook - **IMDb ID:** tt0102057 - **TMDB ID:** 879 - **Wikidata ID:** Q646389 - **Same entity:** https://www.imdb.com/title/tt0102057/, https://www.themoviedb.org/movie/879, https://www.wikidata.org/wiki/Q646389 **Fi1m score: 56** · Critics 50 from 14 reviews *In a sentence:* Captain Hook and Smee deserve a shorter film with more of them in it > Steven Spielberg’s *Hook* finds comic pleasure in Dustin Hoffman and Bob Hoskins, but its crowded Neverland wears us down. Maggie Smith brings warmth; the 142-minute film needs more than good company to justify the length. ## Synopsis Robin Williams plays Peter Banning, also known as Peter Pan, in Steven Spielberg’s version of the Peter Pan story. Neverland is the setting for an adventure involving Captain Hook (Dustin Hoffman), Tinkerbell (Julia Roberts), the Lost Boys and Smee (Bob Hoskins), with sword fights and slapstick along the way. Maggie Smith appears as Granny Wendy, while Caroline Goodall plays Moira, Charlie Korsmo plays Jack and Amber Scott plays Maggie. This family fantasy runs for 142 minutes and has a U certificate. ## Review Steven Spielberg’s *Hook* is a family adventure with enough comic talent to keep it agreeable in patches, but its elaborate Neverland grows tiresome. Its version of the Peter Pan story keeps presenting things to look at without making Neverland somewhere we want to explore. There are pleasures here, particularly Dustin Hoffman’s Captain Hook and Bob Hoskins’s Smee. They arrive between long stretches in which the film seems determined to demonstrate how much entertainment it can accommodate. Hoffman plays Hook with a comic self-importance that gives Hoskins something useful to puncture. Their scenes have the pleasure of watching two actors judge exactly how much fuss the other can tolerate. We laughed at them together, because Hoskins makes the captain’s grand manner look sillier without competing for attention. These are the passages we would happily have had more of, especially when the surrounding adventure begins to drag. Maggie Smith’s Granny Wendy supplies a quieter pleasure. Smith gives the part an affection that does not need to be underlined, and her performance makes the noisy business around her feel less necessary. Robin Williams has moments of wit as Peter Banning, but the slapstick gives him less room than the casting promises. Julia Roberts’s Tinkerbell has charm, though neither performer provides a steady enough reason to care about the next bout of activity. Norman Garwood’s production design is central to the problem. Neverland is so crowded with scenery that it is hard to look beyond the construction, and Dean Cundey’s cinematography cannot persuade us to forget we are looking at sets. There is skill in making all this legible, but the eye has little opportunity to rest. The elaborate surroundings keep drawing attention away from the performers, who already have enough work to do. John Williams’s music makes a more persuasive appeal to the imagination, giving the adventure a warmth that the crowded images struggle to supply. It is a considerable help, though a score cannot make repetitive sword fights surprising. Michael Kahn’s editing leaves those passages too much space, and the 142-minute running time becomes a practical problem for a film offering so much bustle. The pace stays busy without giving us the sense that much has changed. James V. Hart and Malia Scotch Marmo’s screenplay has difficulty balancing the comic business with the invitation to take Peter Pan seriously. Hook and Smee can sustain a scene through performance alone, but that does not give the whole adventure enough variety. The Lost Boys add to the commotion without becoming equally engaging company. Spielberg lets too many stretches continue after their chief pleasure has been exhausted, particularly when another sword fight is supposed to hold our attention. A family fantasy needs to make us curious about its unfamiliar places, and this Neverland seldom does. *Hook* keeps supplying more activity when a little quiet or danger might have served it better. Smith suggests how effective a gentler film could have been, simply by making Granny Wendy worth listening to. Come for Hook and Smee only if a few good comic exchanges will cover the cost of a long evening. *Fi1m score 56, published 13 September 2026.* ## What the critics say The reviews split evenly, and the split runs along a date line. Critics writing in 1991 mostly find the film overstuffed; those returning to it decades later are warmer, treating it as a personal Spielberg film about memory and fatherhood rather than a children’s spectacle. Where there is praise, it clusters on the cast: Dustin Hoffman’s comic Hook and Bob Hoskins’s Smee are singled out repeatedly, Robin Williams is credited with inhabiting the lead, and John Williams’s score is mentioned approvingly even by those who dislike the film. The reservations are about size. Most critics describe the Neverland sets as cluttered and theme-park-like, and several complain that slapstick and sentiment crowd out the story. The spread is wide: The New Yorker calls it a failure in almost every way, while Collider ranks it above every other Peter Pan adaptation, and Little White Lies argues it is a film for adults rather than children. Few in the middle sound enthusiastic. ## Straight answers **Is Hook worth watching?** *Hook* is worth watching only for Dustin Hoffman's Captain Hook and Bob Hoskins's Smee, and we scored it 56. Their scenes together are funny, and Maggie Smith's Granny Wendy is a quieter pleasure, but the crowded Neverland sets and repetitive sword fights make 142 minutes feel long. Families wanting an easy evening may find it agreeable in patches rather than throughout. **How long is Hook, and what is it rated?** *Hook* runs 2h 22m and is rated PG by the MPA in the US. It is an adventure and fantasy film. **Where can I watch Hook in the US?** *Hook* is available to rent from Amazon Prime Video from $3.99. Availability is checked daily; the links above go straight to each service. **What should I watch after Hook?** After *Hook*, try [*The Princess Bride*](https://film.one/film/the-princess-bride) (1987, Fi1m 86): Swordplay and courtship, with comic performers allowed to enjoy their work. Then [*Time Bandits*](https://film.one/film/time-bandits) (1981, Fi1m 80): For a stranger, less comforting adventure, where the adults remain thoroughly suspect; and [*My Neighbour Totoro*](https://film.one/film/my-neighbor-totoro) (1988, Fi1m 89): Childhood wonder built from small discoveries rather than another round of swordplay. ### Reviews we read (14) - **Little White Lies**, James Clarke (70/100, inferred): The critic defends Hook against its poor reputation, arguing it is a significant late entry in the first phase of Spielberg’s career that uses memory as a key motif and presents a protagonist struggling to recover his past. It is ultimately more a film for adults than children. [Read](https://lwlies.com/in-praise-of/in-defence-of-hook-steven-spielberg) - **Los Angeles Times**, Kenneth Turan (65/100, inferred): The critic sees the film as a struggle between spectacle and enchantment where the former often smothers the latter, though some magic breaks through. He singles out Maggie Smith's performance as Gran Wendy for praise while noting the overly elaborate sets and production design as drawbacks. [Read](https://www.latimes.com/archives/la-xpm-1991-12-11-ca-38-story.html) - **Radio Times**, John Ferguson (3/5): Purists may object to the liberties taken with the source material, but the film offers rousing entertainment for children with its 1990s trimmings. Dustin Hoffman’s performance as Hook and the scenes with Bob Hoskins as Smee are highlighted as highlights. [Read](https://www.radiotimes.com/movie-guide/b-d4neku/hook/) - **The New York Times**, Vincent Canby (60/100, inferred): The critic finds the film too much and a financial gamble that tries to be all things to all people, yet notes that the charm of the original has not been entirely lost. He singles out Dustin Hoffman's bravura comic performance as Captain Hook and Bob Hoskins as Smee for praise. [Read](https://www.nytimes.com/1991/12/11/movies/review-film-peter-as-a-middle-aged-master-of-the-universe.html) - **The AV Club**, Jesse Hassenger (55/100, inferred): The critic views Hook as Spielberg's most excessive rather than outright worst film, noting its reputation as a boondoggle while crediting its appeal as a lavish, garish playground for kids. He singles out the fatherhood themes and the way the over-the-top Neverland design enhances its nostalgic charm for the target audience. [Read](https://www.avclub.com/is-hook-steven-spielberg-s-worst-movie-or-just-his-mos-1848184683) - **RogerEbert.com**, Roger Ebert (2/4): The critic views the film as a lugubrious retread of the Peter Pan story that fails to re-imagine the material or deliver magic. He singles out the cluttered, set-like Neverland sequences and repetitive sword fights for complaint, while noting some wit from Williams and Hoskins. [Read](https://www.rogerebert.com/reviews/hook-1991) - **Variety**, Variety Staff (40/100, inferred): The film is spirited and rambunctious but messy and undisciplined, splashing its megabudget on screen without truly taking flight. Jokiness undermines the leads, though Williams inhabits the main role well and some supporting turns stand out. [Read](https://variety.com/1990/film/reviews/hook-1200428882/) - **Empire**, William Thomas (30/100, inferred): The film is a bloated, disappointing spin on J.M. Barrie's Peter Pan story that lacks Spielberg's usual hallmarks and marks the lowest point in his canon. It offers some visual pleasures and crisp early sequences but falters with unconvincing Lost Boys, underused stars and dominant slapstick. [Read](https://www.empireonline.com/movies/reviews/hook-review/) - **Time Out**, BC (25/100, inferred): The critic finds the film noisy and poorly envisioned, likening it to a theme park ride with variable sets. Tinkerbell is singled out as the only notable element amid the overall disappointment. [Read](https://www.timeout.com/movies/hook) - **The New Yorker**, Terrence Rafferty (10/100, inferred): The film is a failure in almost every way, a lumpy mess whose inventiveness has a desperate quality and whose tricks feel strained. Spielberg seems to have lost confidence in his own gifts, resulting in a joyless and claustrophobic Neverland. [Read](https://www.newyorker.com/magazine/1991/12/30/fear-of-flying) - **Collider**, Lindsey Clouse (85/100, inferred): The critic declares Hook the best Peter Pan adaptation of all time. They single out the pitch-perfect casting, world-building, production value and John Williams score for particular praise. [Read](https://collider.com/hook-peter-pan-adaptation/) - **Paste**, Kenneth Lowe (70/100, inferred): The critic argues that while contemporary reviewers hated the film, it holds up as an interesting extension of Barrie's Peter Pan story with strong performances from Williams and Hoffman. He singles out the score, the thematic focus on growing up as an adventure, and memorable comic scenes for praise. [Read](https://www.pastemagazine.com/movies/steven-spielberg/hook-robin-williams) - **The Ringer**, Tim Greiving (70/100, inferred): The piece examines Hook as a fascinating, polarizing Spielberg entry that nearly became a musical, praising its thematic resonance with the director's obsessions and its theatrical, larger-than-life style. It notes the film's mixed legacy as both bloated and beloved across generations. [Read](https://www.theringer.com/2021/12/08/movies/hook-west-side-story-robin-williams-musical-steven-spielberg) - **Consequence**, C.B. (30/100, inferred): In a ranking of Spielberg films, Hook is placed low but described as having the look and feel of a classic thanks to its production values and score. The critic complains that it leans too heavily into sap and sentimentality without pushing the Peter Pan story in more interesting directions. [Read](https://consequence.net/2022/12/steven-spielberg-movies-ranked-list/) ## Details - **Director:** Steven Spielberg - **Director:** Steven Spielberg - **Screenplay:** James V. Hart, Malia Scotch Marmo - **Cinematography:** Dean Cundey - **Editor:** Michael Kahn - **Music:** John Williams - **Production design:** Norman Garwood - **Costume design:** Anthony Powell - **Producer:** Frank Marshall, Kathleen Kennedy, Gerald R. Molen - **Cast:** Dustin Hoffman as Captain Hook; Robin Williams as Peter Banning / Peter Pan; Julia Roberts as Tinkerbell; Bob Hoskins as Smee; Maggie Smith as Granny Wendy; Caroline Goodall as Moira; Charlie Korsmo as Jack; Amber Scott as Maggie - **Runtime:** 2h 22m - **Certificate (MPA):** PG - **Release (the US):** 11 December 1991 - **Genres:** Adventure, Fantasy, Comedy, Family - **Budget:** $70 million - **Box office:** $301 million - **Trailer:** https://www.youtube.com/watch?v=c-vwgt8cwEM ## Where to watch in the US - Amazon Prime Video: rent $3.99, uhd - Amazon Prime Video: buy $14.99, uhd *Checked 2026-09-13.* Also available in: AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, ES, FI, FR, GB, HR, HU, IE, IN, IT, JP, LT, MX, NL, NO, NZ, PA, PE, PL, PT, RO, RS, SE, SI, TR, US. Add `?region=XX` to this URL for another country. ## Awards - Academy Awards 1992: Best Costume Design (nominated); Best Makeup and Hairstyling (nominated); Best Production Design (nominated); Best Visual Effects (nominated) - Golden Raspberry Award for Worst Supporting Actress 1992: Golden Raspberry Award for Worst Supporting Actress (nominated) ## If you liked this - *Peter Pan* (2003): A more direct visit to Neverland, with room for danger and longing. - *The Princess Bride* (1987), Fi1m 86: Swordplay and courtship, with comic performers allowed to enjoy their work. — [Fi1m page](https://film.one/film/the-princess-bride.md) - *The Secret of Roan Inish* (1994): A quieter family fantasy that lets landscape do the work of spectacle. - *Time Bandits* (1981), Fi1m 80: For a stranger, less comforting adventure, where the adults remain thoroughly suspect. — [Fi1m page](https://film.one/film/time-bandits.md) - *My Neighbour Totoro* (1988), Fi1m 89: Childhood wonder built from small discoveries rather than another round of swordplay. — [Fi1m page](https://film.one/film/my-neighbor-totoro.md) --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/hook