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.
January 31, 2002 5:51am EST
A group of high school seniors put a boy who is eager to become part of their clique through a cruel initiation prank that involves jumping off some sort of high scaffolding into a cloudy pool at a local cement factory. When one of them Landon (Shane West) gets caught the principal decides Landon needs to hang with a different crowd and assigns him to tutor kids on the weekend and take part in the drama club's spring play. Surprise-the plan works! In over his head with the play Landon seeks help from Jamie (Mandy Moore) a dowdy bible-thumper who apparently only owns one ratty cardigan. Jamie however is not your run-of-the-mill unpopular girl. Rather than being introverted and weird she is smart witty and confident-in fact that grubby sweater of hers seems to be the only thing branding her as an outcast. The two grow closer and Landon eventually sees her inner beauty forgoing his own A-list status to be with her. But Landon learns that Jamie has been keeping a secret from him that inevitably blocks their path to happiness.
Moore the underdog of the teen pop stars dyes her hair brown and dulls herself down for the role of Jamie a simple girl that loves to gaze at the stars in her spare time. She did a great job transforming herself into her character but in the process extinguished most of what makes her sparkle on screen. Mind you the script might be to blame for creating a character so unbelievably mundane and one-dimensional. Under all of Jamie's goodness and perfection is well nothing. West does a great job portraying his character transformation. Even while Landon runs with the bad crowd West conveys a sense of humility in the character. Peter Coyote plays Reverend Sullivan Jamie's over-protective father without being too overbearing which is refreshing. An almost unrecognizable and weathered Daryl Hannah has a small but convincing enough role as Landon's mother. Maybe it was her now-brunette hair but I didn't realize it was Hannah until I saw the credits.
In A Walk to Remember director Adam Shankman steered away from being overly sentimental. The relationship that develops between the teens is actually very sweet and interestingly enough the film ends up being more about Landon's transformation than about Jamie's faith. While the film is not as flaky as the rash of recent teen movies it still manages to fall into the same clichés. Though the story is very-dare I say-poignant characters like Jamie's in trying to be different have become a stereotype: The plain Jane whose personality and convictions win over the popular guy. Remember Andie (Molly Ringwald) in Pretty in Pink? Or more recently Laney (Rachael Leigh Cook) in She's All That? And though Moore has a beautiful melodic voice her singing scenes are too drawn out. We are not just treated to her crooning a chorus or two of a song during a church scene but the songs in their entirety. Even Mariah Carey spared us that much in Glitter.