The best way to go into Pirates of the Caribbean: On Stranger Tides is to think of it as the first film in a brand new franchise; a franchise in which mermaids love men zombies won’t eat you and a Fountain of Youth exists but all laws of logic reasoning and competent storytelling don’t. Although screenwriters Ted Elliot and Terry Rossio were smart enough to sever the narrative ties to the first two sequels in their franchise’s fourth outing the latest swashbuckling adventure in the series shares most of the same faults its predecessors faced.
Director Rob Marshall (Chicago) steps in for Gore Verbinski in On Stranger Tides but you’ll be hard-pressed to find his contributions to the already-flashy film that finds our hero Capt. Jack Sparrow (the inimitable Johnny Depp) on the hunt for the fore mentioned fountain. Of course he’s not the only one looking for eternal life: also in tow are nameless stereotypical Spaniards the English crown headed by a reformed Barbossa (Geoffrey Rush) and Blackbeard a ruthless pirate who looks and sounds a lot like Ian McShane. Their paths cross on numerous occasions as the story scrambles across the map culminating in a splashy battle in a magical meadow where Ponce de Leon’s greatest discovery lies.
Less a cohesive story and more a collection of individual set pieces linked together by nonsensical dialogue and supernatural occurrences the film isn’t all that hard to follow if you don’t strain yourself doing so. The sequence of events collide so conveniently for the characters you can’t help but call the screenplay anything but the result of complacency while the film itself sails so swiftly from point to point it’s actually a waste of time to dwell on plot holes and motives. Disrupting its momentum (which is one of the few things the film has going for it) is an unwatchable romance between Sam Claflin’s missionary Philip and Syrena (Astrid Bergès-Frisbey) one of a handful of murderous mermaids who do battle with Blackbeard’s crew. Their bland courtship will have you begging for Orlando Bloom and Keira Knightley to return to the high seas and that’s saying something.
The all-female fish people are one of a few additions to the Pirates world but their effect on the film is negligible outside of being the impetus for the coolest action sequence in the picture and perhaps the most unnerving of the series. The others include Penelope Cruz as Blackbeard’s busty daughter Angelica and Stephen Graham as shipmate Scrum. The former feels out of place among the cartoony happenings but provides much needed sass while the latter fills in for Kevin McNally’s Gibbs for much of the film and is a pleasure to watch for some hammy comedic moments.
As always however this is Depp’s show and he continues to put a smile on my face with his charisma and theatrical presence. Even though he’s operating on autopilot throughout you can’t help but marvel at his energy and enthusiastic output as he literally fuels the fun in the film. The same can be said of Rush who’s given a meatier and more significant arc this time around. He trades quips with Depp as if they were a golden-age comedy duo and they remain the most appealing attraction in the franchise. Though he brings an undeniable sense of danger to the picture I was sadly underwhelmed by McShane’s Blackbeard a character with such a domineering reputation and imposing look he should’ve been stealing scenes left and right. Instead I felt he phoned his performance in though that could’ve been the result of Marshall’s indirection.
No better than the genre-bending original but a slight improvement over Dead Man’s Chest and At Worlds End On Stranger Tides suffers centrally from lack of a commanding captain. Marshall’s role is relegated to merely on-set facilitator or perhaps liaison between legions of talented craftspeople that make the movie look so good. Whatever vision he had for this venture if he had a unique take at all is chewed up and spit out by the engines of the Jerry Bruckheimer blockbuster factory rendering the film as mechanical as the ride from which it is based.
Set during the Spanish Civil War of the 1940s—a favorite area of exploration for writer-director Guillermo del Toro—the story follows dreamy 11-year-old Ofelia (Ivana Baquero) as she’s uprooted and relocated to a remote military outpost when her sickly mother (Ariadna Gil) marries the wantonly cruel camp commander Captain Vidal (Sergei Lopez). With the compassionate but secretive housekeeper Mercedes (Maribel Verdu) as the closest thing to a friend she has in the oppressive environment Ofelia escapes into a richly textured fantasy world. She follows a dragonfly she believes is a fairy into a landscaped but neglected garden maze she recasts as the lair of the goatish godling Pan (Doug Jones). He tells her she’s the last heir to a magical otherworldly kingdom and charges her with several tasks to help her reclaim her birthright. As her personal world grows more and more grim—the impending birth of her half-brother threatens her mother’s health her step-father grows colder and colder in his bid to crush the resistance and Mercedes’ hidden agenda places her in jeopardy as well—Ofelia soon finds herself tangling with hideous monsters both imagined and all too real often having difficulty distinguishing which is the more dangerous. The astonishingly real performance of the amazing young Spanish actress Baquero as Ofelia anchors the film firmly in both its real world and fantasy environments as only the convincing imagination of a child could. Lopez is an equally compelling discovery as the callous Vidal pitiless vicious and malevolent while still remaining believably human throughout. He’s unblinking in his depiction of a thoroughly vile and cruel man but avoids any aspect of cartoonish evil. And Verdu (Y Tu Mama Tambien) as Mercedes is a wonder as well with her remarkably expressive face unlimited by the film’s Spanish language barriers. Kudos too to Doug Jones a whisper-thin actor who specializes in “creature” roles (he’s played Abe Sapien in del Toro’s Hellboy and will be the Silver Surfer in the Fantastic Four sequel) who somehow magically delivers fully-formed performances as both the faun Pan and the freakish Pale Man through layers and layers of latex. Pan's Labyrinth is unquestionably Guillermo del Toro’s finest film work to date as pure an artistic vision as is likely to be committed to celluloid. He wisely worked outside the Hollywood system in his native Spain to bring his dark tale to life. The story exists in that shadowy netherworld between childhood and adulthood innocence and awareness of the world’s more sinister nature and its characters and themes are explored in ways that no mainstream film would ever allow. On the surface the trappings are Tim Burton-esque but the dark corners Pan's Labyrinth peers into are grim and gloomy indeed; del Toro is never afraid to delve into the murkiest of directions that to audiences used to more conventional movies are heart-wrenching even gut-churning but ultimately emotionally honest and in unexpected ways as immensely satisfying as they are haunting. The film is the announcement of the complete arrival of a major filmmaker and we can only hope that the qualities del Toro brings to this work do not get lost in the maze of Hollywood for future films.
The Crusades were a series of religious wars in which the Christians tried to reclaim Jerusalem from the Muslims who had conquered the Middle East in the 7th century. With the battle cry of "God wills it! " thousands of Europeans answered the call and were able to retake the fabled Holy City in the 11th century. Kingdom of Heaven begins in 1186 between the Second and Third Crusades. A fragile peace prevails mostly through the efforts of Jerusalem's enlightened Christian king Baldwin IV (Edward Norton) and the military restraint of the legendary Muslim leader Saladin (Ghassan Massoud). But it's difficult to maintain the peace. There are extremists within the Christian brigades--known as the Knights Templar--who want to wipe every Muslim off the face of the Earth. On top of that King Baldwin's health is failing. Once he's gone war is sure to follow. If ever there was a need for a hero this is the time. Enter the young French blacksmith Balian (Orlando Bloom) who is in deep despair over the loss of his family. He joins the Crusades after the father he never knew Godfrey (Liam Neeson) comes back from Jerusalem and convinces him it's a quest worth fighting for. As Godfrey passes his sword to his son he also passes on that sacred knightly oath: to protect the helpless safeguard the peace and work toward harmony between religions and cultures so that a kingdom of heaven can flourish on earth. No pressure or anything though.
Orlando Bloom carries his first major motion picture very well easily handling the chores of being such a gallant conscientious and morally upstanding knight. As Balian the Troy costar plays the gamut. He broods over his lost wife and child has father-son epiphanies upholds his knightly duties on a regular basis falls in love with a beautiful but troubled princess and finally bravely defends the Holy City from the encroaching Muslim army thus becoming a legend. Not bad for a day's work eh? There are even times especially toward the end when Balian is standing before the denizens of Jerusalem urging them to fight when you swear you can see a little of Bloom's The Lord of the Rings alter-elf Legolas creep in. The supporting cast also does an adequate job painting a picture of some trying times. Chief among them: Jeremy Irons as King Baldwin's right-hand man Tiberias; Marton Csokas (The Bourne Supremacy) as the evil leader of the Knights Templar; Massoud as the great warrior Saladin; and lovely Eva Green (The Dreamers) as Princess Sibylla King Baldwin's sister who captures our hero's heart but makes some bad choices with dire consequences.
Even if these sword-and-armor epics are all blending together you've got to give props to the directors who make them. These films are massive undertakings and Kingdom of
Heaven with the expert Ridley Scott at the helm is no exception. The Oscar-winning director of course has had his fair share of recreating history first with the classic Gladiator and then with the contemporary Black Hawk Down. But in recreating the Crusades Scott faces his toughest challenge to date and takes on the responsibility very seriously. He is painstakingly meticulous with details even as he is building a 12th-century Jerusalem or corralling 2 000 heavily costumed extras for the colossal climactic battle sequences. And it is always a good thing when a historical film can teach you something you may not have known like what the heck the Crusades were really all about. No Kingdom's biggest obstacle is timing. While it certainly has more substance than Alexander it is not nearly as intense and stirring as The Lord of the Rings trilogy or the granddaddy of them all Braveheart. Too many of its ilk has come before and the concept has unfortunately worn thin.