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.
127 Hours the new film from Slumdog Millionaire’s Academy Award-winning writer-director duo Simon Beaufoy and Danny Boyle feels like it was made in the titular time frame. The movie is choppy and fast-paced like the adventures of its daredevil protagonist Aron Ralston who amputated his own arm after an accident in the cavernous regions of Moab Utah in 2003. This kinetic style of filmmaking (similar to how Slumdog was produced) succeeds in artistically recreating the horrific events of those five painful days but prevents the audience from developing an essential emotional connection with the character and renders the movie limp with more style than substance.
The story begins with Mr. Ralston’s (played adequately by James Franco) ritualistic preparation for intense outdoors activities. He ignores his mother’s phone call (and it’s clearly not the first time he’s done this) so he can begin his extreme expedition that much faster. This selfish attribute is true to the character and foreshadows his eventual arc but Boyle stumbles around with irrelevant narrative detours involving a pair of female thrill-seekers and a barely-seen sister and ex-girlfriend. These subplots are ultimately counter-productive and feel out-of-place.
Instead of providing the character’s backstory through a traditional prologue we learn about Ralston’s past through his own sleep/food/water-deprived hallucinations while he’s stuck beneath a boulder at the bottom of a canyon. In this grim ill-fated state the audience is supposed to feel remorseful and on a basic level of human compassion we do. However it’s difficult to sympathize with a character as arrogant and narcissistic as Ralston who admits that he’s brought this situation on himself.
In terms of craft Boyle is at the top of his game. Aron’s spiritual breakthrough is dramatized by surreal visual sequences that deliver the most moving imagery in the entire film. His use of sound effects particularly enhanced the harrowing experience as do the realistic prosthetics used to depict his bloody sacrifice.
Though the film has the tension and suspense that made similarly-themed survival tales like Castaway and Rescue Dawn moving it lacks an introduction that builds a bond between audience and character debilitating the effect of Aron’s eventual triumph. Many will rejoice when they see Ralston emerge from his mountainous prison a wiser and more appreciative man but there’s never much reason to root for him throughout the picture unless you’re simply hoping for a happy ending.
Based on Ian McEwan’s equally stirring novel we begin the story in 1935 on the cusp of WWII. Briony Tallis (Saoirse Ronan) a 13-year-old fledgling writer lives with her wealthy family in their enormous English country mansion and on one hot summer day she irrevocably changes the course of three lives including her own. It seems the housekeeper’s son Robbie Turner (James McAvoy) carries a torch for Briony’s older sister Cecilia (Keira Knightley). And on this warm day it becomes clear she feels the same way; their love ignites. Little Briony who harbors her own secret crush on Robbie witnesses the beginnings of this love affair and not understanding its meaning feels compelled to interfere going so far as accusing Robbie of a crime he did not commit. He is arrested and whisked away eventually forced into the British army but thankfully the two lovers have a moment before he goes to war to reconnect. Cecilia promises to wait for him urging him to “come back” to her once the madness he is about to become immersed in is over. Meanwhile Briony (played in adult years by Romola Garai and Vanessa Redgrave) has grown up regretting every single moment of that fateful day and in desperately trying to seek forgiveness finally finds a path to understanding the power of enduring love. The performances in Atonement are nothing less than captivating beginning with the young Irish rose Saoirse Ronan (who is also set to play the lead in Peter Jackson’s The Lovely Bones). Since it is primarily Briony’s story Ronan must make the first most indelible impression and set the tone for the rest of the movie--and she succeeds on every level. From the moment you see Ronan’s pale face clear-blue eyes and steadfast gait you immediately recognize Briony’s need and determination to make everything in her life just so. Indeed Briony is a strongly focused child and Ronan so embodies the character an Oscar nomination is almost a certainty. As the 18-year-old Briony Garai (Dirty Dancing 2) does the best she can following such a tough act as Ronan but can never quite match the same intensity. On the other hand Redgrave who comes in at the very end as the much older Briony nails it right away adding her own nuances to a character who has lived a full life. Of course Knightley and McAvoy are no slouches either vividly capturing the passion bubbling up between Cecilia and Robbie then turning around and showing the heartache as their love is ripped apart. McAvoy is particularly effecting as his Robbie must also witness some truly horrific wartime scenes. Actually Oscar nods should come fast and furious for everyone in Atonement. With Pride & Prejudice and now Atonement director Joe Wright may have just established himself as the new James Ivory (of Merchant/Ivory fame). Wright is a real visionary for the romantic period piece expertly delivering truly spectacular vistas. From set design to costumes to cinematography the look of Atonement is at once verdant welcoming and then startlingly grim. The first half of Atonement at the Tallis’ country home is certainly the film’s most defining peppered by an effective musical score which uses the sound of a typewriter like a metronome. Through a soft lens Wright displays the general idleness of summer day at a country home like a sunny floral motif that belies an undercurrent of sweating bodies wilting flowers stagnant pools--and an imminent tragic event. Then once Wright moves with Robbie into WWII he actually paints an even more grim view of war then maybe seen before. The one continuous shot of the historical Dunkirk--a French beach on which thousands of British soldiers were forced by the Germans and then waited to be evacuated--is absolutely stunning and surreal. Atonement does drag ever-so-slightly in the middle especially as Briony trains to be a nurse in London but overall this is a film Academy voters eat up with a silver spoon. Expect to be hearing about it in the months to come.