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.
WHAT IT’S ABOUT?
When all-American girl Susan Murphy is inadvertently hit by a falling meteor on her wedding day she grows to be nearly 50 feet tall. The U.S. military gets wind of this renames her Ginormica and locks her away with a slacker group of other “monsters” in a top-secret compound. But when a mysterious alien robot lands on Earth and begins wreaking havoc these good-hearted but inept creatures are called into action by the President and must band together as a team to save the world from certain catastrophe.
WHO’S IN IT?
As usual Dreamworks has assembled a stellar A-list voice cast led by Reese Witherspoon as Susan/Ginormica. Playing one of the rare female animated heroes Witherspoon’s sweet/confused demeanor — in light of her highly unusual status as a fearsome freakazoid — hits just the right tone generously letting her zanier colleagues steal scenes from right under her (a long way down by the way). Chief among these are a not-so-bright gelatinous blue mass named B.O.B. hilariously voiced by Seth Rogen; the genius Dr. Cockroach Ph.D in the capable hands of House doc Hugh Laurie; and Will Arnett’s half-ape half-fish The Missing Link. In the human roles there’s Stephen Colbert as the idiotic U.S. President Kiefer Sutherland as the monster’s prison guardian Paul Rudd as the ego-driven weatherman fiancé of Susan; and a deliciously villainous Rainn Wilson as Galaxhar the alien determined to take over Earth.
Superb 3-D effects aren’t overdone and add immeasurably to the ginormous fun of the film but even seeing it in theaters that only show it in regular 2-D doesn’t spoil the pure joy of this cartoonish War of the Worlds. Throw in parodies of every cheap '50s sci-fi movie you can think of and you have the ingredients for a silly monster mash sure to appeal to just about anyone who wants to laugh. Despite the impressive production elements it’s the smart and clever script that really sets it apart from its competitors — and that even includes the similar Monsters Inc. from Pixar.
Like any kid-oriented comic ‘toon today the action can be a bit too frenetic and Monsters vs. Aliens piles a lot of it on in its trim 95 minutes. Still the lovable characters carry the day and somehow make it all palatable.
When Susan now Ginormica brings her new friends home to meet her parents chaos ensues and so do the laughs. Also impressive are the large action scenes that make fine use of CGI animation breakthroughs.
BEST SUPPORTING BLOB:
It's easily the one-eyed lame-brained blue lug of a people hugger named B.O.B. perfectly matched to the talents of Rogen. He rolls away with the movie and inevitably the merchandise tie-ins.
September 25, 2004 11:24am EST
Shaun (Simon Pegg) is an ambitionless electronics salesman whose idea of grabbing life by the throat is chugging beer at the local pub the Winchester. After three years Shaun's ennui starts to grate on his girlfriend Liz (Kate Ashfield) who presents the 29-year-old slacker with an ultimatum: Set some goals or get ready for the single life. Of course it isn't long before Liz dumps lazybones Shaun who drowns his sorrows in a pint of cold ale at--where else? The Winchester of course along with his out-of-shape and equally lethargic buddy Ed (Nick Frost). What Shaun and Ed are too wasted to realize however is that the good people of London are turning into zombies all around them. When Shaun is almost bitten by a strange pale lady lurking in his garden he realizes something's up--namely that the dead have risen and are feasting on the living. A newly-inspired Shaun springs into action and comes up with the perfect plan to thwart the undead. With the help of Ed he rounds up Liz her roommates his mom and stepfather and takes them to his idea of a safe haven: The Winchester!
As Shaun Pegg who had a small roles in the HBO miniseries Band of Brothers and the comedy 24 Hour Party People is quite endearing. Although he's shiftless Shaun is someone everyone can relate to--stuck in a comfort zone with no plan to change in his life. But Pegg brings some complexity to the character giving Shaun a sympathetic edge. Of course the film tends to overplay the sympathy card complete with shots of Shaun's fake tears after he splits with Liz. But in the end Shaun is not the lazy loser Liz and her friends all thought he was--just an easy-going guy who enjoys the simpler things in life. Ashfield who has starred in several British feature films is also impressive as Shaun's disapproving girlfriend. The on-screen chemistry between the two stars is surprisingly sweet and almost too down to earth for a parody; sure it's silly at times but incredibly believable. Frost meanwhile nails the sidekick role of Ed--a character you'll first despise but eventually grow to almost love.
In vein of his 1995 spaghetti Western spoof A Fistful of Fingers writer/director Edgar Wright uses his parodying skills once again for his second feature Shaun of the Dead--this time lampooning George Romero's 1978 zombie classic Dawn of the Dead. Like Romero whose zombie films take a satirical look at American counterculture of the late 60s Wright's Shaun takes aim at the dreadful idleness plaguing the underachieving Gen-Xers. The film's first 30 minutes are undoubtedly its best as Shaun and other young Londoners mechanically go through the motions of life without ever taking the time to smell the proverbial roses; they schlep to work traipse to the pub and slump into bed never fully appreciating their lives. While anticipating the imminent onslaught of zombies Wright takes pleasure in blurring the lines between the undead and the just plain lethargic. But the film loses its focus once Shaun's character takes a heroic turn and we are forced to endure several poignant moments with his mom and stepdad. Remember Shaun is suppose to be a zombie satire not a Lifetime movie of the week.