'Pirates of the Caribbean: Dead Men Tell No Tales' Review

Pirates of the Caribbean: Dead Men Tell No Tales charts a new course for the spirited swashbucklers by steering the franchise closer to its humble beginnings. Dead Men Tell No Tales follows the adventures of Henry Turner, son of Elizabeth and Will Turner, as he searches for a means to free his father from his cursed fate. Turner then enlists the help of astute astronomer Carina Smyth and disreputable drunk Jack Sparrow to embark on a quest and find the treasured Trident of Poseidon, an artifact said to grant the wielder complete control of the seas with the power to break any curse. In the midst of all this, a vengeful Spanish specter Captain Salazar escapes the Devil's Triangle with an army of apparitions and a particularly unpleasant ambition. 

Dead Men Tell No Tales is the fifth entry to the Pirates franchise and after Curse of the Black Pearl, the savvy seafarers have landed ashore from their their subsequent plunders with receding riches among their treasure trove. Despite the diminishing returns of the succeeding ventures, I still manage to let loose a hardy "Yo-ho!" anytime Curse of the Black Pearl, Dead Man's Chest, or At World's End sail my way because that original trilogy knew how to handle the cultivating crew. However, On Stranger Tides waded into unfamiliar waters in hopes of extending the franchise only to meet a rocky reception and nearly sink the ship. 

Thankfully, all hands were called on deck so Norwegian co-directors Joachim Rønning and Espen Sandberg were able to save Disney's lucrative vessel just when I thought these pirates were about to walk the plank and abandon ship. Rønning and Sandberg ensure that everything encountered along the voyage looks and sounds tremendous, harkening back to the strange, supernatural elements Verbinski interposed into his own swashbuckling stories. 

For starters, every orchestral score in the Pirates of the Caribbean franchise has sounded exceptional, regardless of the film's quality, and this entry is no exception. Though Hans Zimmer abandoned ship and the score includes a number of familiar sea shanties, composer Geoff Zanelli proudly waves the Jolly Roger in his deconstruction & reconstruction of the pivotal Pirates themes. Elsewhere, the hair & makeup team alongside the commendable costuming crew continue to impress, despite dressing the cast in the usual pirate garb. I'm sure it must be a huge ordeal to ensure each pirate has the distinct and adequate attire, so the simple fact that each cast member looks great is enough for me to tip my hat to those members of the crew!

The vfx artists and production designers prove to be no land lubbers either, considering they are able to craft an authentic tropical background that these rum-smitten sailors can inhabit. The film looked leagues better than On Stranger Tides from start-to-finish and bolstered an awesome, unabridged aspect ratio in IMAX that further enraptured me. On the flip side, I was a bit worried about the look for Salazar and his ghastly crew judging from the trailers. Fortunately, my concerns were ill-suited because the dastardly Spanish crew looked exceptional thanks to a mix of profound practical prosthetics and illustrious CG-effects.

**Spoiler warning in case you somehow haven't seen any of these movies I'm about to mention**

Other technical accomplishments to note include Disney's alarming ability to de-age actors lately. You may have noticed this in various Marvel Studios entries including Ant-Man, Captain America: Civil War, and Guardians of the Galaxy Vol. 2 that all featured brief scenes with a younger version of a prominent character (Hank Pym, Tony Stark, and Ego respectively).

**End of spoilers**

I previously haven't brought this up in any reviews because each of those occurrences were well under-wraps and I was avoiding spoilers. However, Disney has put this de-aged Jack Sparrow front and center in their marketing material so I think it's safe to talk about it. While I don't think there has been a misstep yet, I'd place the de-aged Sparrow among the upper escalate of examples because he's onscreen longer and maintained the authenticity throughout. It's truly incredible that technology has come this far that studios can now effectively de-age an actor and practically bring a deceased one back to the big screen (in the case of Rogue One: A Star Wars Story).

On the other hand, Dead Men Tell No Tales doesn't play out nearly as well on paper. Jeff Nathanson penned the seadog's screenplay and does an adequate job finding a means for the story to carry onward but the plot's riddled with meaningless side-quests involving extraneous characters. Dead Men Tell No Tales could have easily had the shortest running time in the series if Nathanson had thought to throw out a few of these meandering plot lines and insignificant characters. On top of that, the story basically follows this ridiculously repetitive pattern of [interchangeable character] is captured and [interchangeable character] is free. There were a number of clear comedic attempts that fell flat or pandered primarily to children, in quite a few of these instances absolutely nobody in my theater even chuckled. The dialogue is what failed to elicit a response most of the time and Sparrow's schtick hasn't completely worn off because some of the situational humor works quite well! 

Even when Dead Men Tell No Tales sails around in storytelling circles, there's an adequate level of enjoyment to be had. A bank heist at the film's outset literally gives the one featured prominently in Fast Five a run for its money and there's some zombie sharks in the second act that were particularly cool. Dead Men Tell No Tales has all the outlandish, outrageous pirate escapades you were missing in On Stranger Tides but very few of them are on par with the set pieces concocted by Verbinski.

If you're a stickler for continuity, Dead Men Tell No Tales will raise some serious concerns regarding its well-traversed story routes, pirates lore, and the mythical side of the Pirates universe but these things may sail away completely unnoticed by casual Caribbean tourists. Dead Men Tell No Tales somehow managed to simultaneously feel the furthest removed and most interwoven of the Pirates films thus far and I'm lost for words at how that was even possible. There are a number of cameo appearances that I found amusing and worth mentioning, but you may already know about them thanks to the film's marketing so they aren't exactly surprises. 

Meanwhile, Johnny Depp's performance as Captain Jack Sparrow has definitely improved from his turn in On Stranger Tides. He's no longer the lead so he doesn't have as much weight on his shoulders and is able to let loose as a supporting character again. Depp will never not be a great Jack Sparrow, but he's as kooky caricature once more. Nathanson unintentionally set up an interesting arc for Sparrow regarding his fall from grace but Depp never gets to tackle the underlying emotional vulnerability I was hopeful to see because he's too busy parading around for laughs. I'm doubtful Depp and the Caribbean's creative forces will ever be able to recapture the restrained, comedic brilliance of his debut but anything's possible. 

Filling out the crew, Brenton Thwaites and Kaya Scodelario are thrown out into the seven seas with hopes they would be able to recapture the Bloom/Knightley pairing from the original trilogy. While they come closer than the last feeble attempt, the two simply don't have the spark. Thwaites is a serviceable plucky lad and Scodelario plays the adept academic to a tee. Both are fine in their respective roles but neither were able to carry the weight required to completely fill the void left by Will Turner/Elizabeth Swann.

However, Javier Bardem oozes the appropriate amount of menace as Spaniard spirit Captain Salazar and stood out as the best baddie this franchise has seen in some time. Bardem wasn't given much to work with but he successfully elevated his character and projected a huge screen presence as you'd suspect an Oscar winner would. Geoffrey Rush also goes all in with his rotten, roguish portrayal of Captain Barbossa and Kevin McNally makes for a nice addition as dedicated first mate Gibbs.

When it comes down to my Memorial Day movie recommendation, it really depends on what you as a viewer would like to watch. If you want to see a gallivanting, enjoyable romp across the sea, go see Pirates of the Caribbean: Dead Men Tell No Tales. Crude comedy? Baywatch. Suspenseful sci-fi? Alien: Covenant. Out-of-this-world superhero story? Guardians of the Galaxy Vol. 2. You can't really go wrong with any of those options provided you're seeking that specific source of entertainment. Otherwise, keep your eyes peeled to the WONDER-ful horizon. I guarantee if you feel lost in the summer sea of blockbusters, you'll be shouting "Land, ho!" next weekend.

Pirates of the Caribbean: Dead Men Tell No Tales is being billed as the "final adventure" but with a post credit scene offering a titillating tease for a sixth installment and the insane international business these pirates manage, I can't help but feel there will be a few more adventures for Captain Jack on the horizon. Pirates of the Caribbean: Dead Men Tell No Tales offers plenty of reasons to raise the Jolly Roger thanks to its capable cast, refreshing tropical visuals, elaborate action set pieces, and another sea-spirited score. Dead Men Tell No Tales is by no means the optimal expedition but it was reassuring to see Jack Sparrow and his merry band of marauders change course.

Film Assessment: C+

Throwback Thursday Review: 'Pirates of the Caribbean: On Stranger Tides'

Sorry for the delayed review but this week I'm wrapping up my series of Pirates of the Caribbean reviews with my thoughts on Pirates of the Caribbean: On Stranger Tides. Next week I'll be revving up my Throwback Thursday Review of Cars in preparation for the threequel. Other reviews you can expect to see over the course of May and June include Throwback Thursday Reviews over The Mummy (1999), Cars 2, Transformers: Age of Extinction, and Despicable Me 2 in addition to new reviews over Pirates of the Caribbean: Dead Men Tell No Tales, Wonder Woman, The Mummy (2017), Cars 3, Transformers: The Last Knight, Baby Driver, and Despicable Me 3.

'Pirates of the Caribbean: On Stranger Tides' Review

Pirates of the Caribbean: On Stranger Tides sets sail with Captain Jack Sparrow, but there's a catch, he's both ship-less and crew-less this time around. When Sparrow catches wind of an imposter recruiting for a voyage in search of the fabled Fountain of Youth, he investigates only to discover former flame and daughter of Blackbeard, Angelica. Sparrow soon finds himself onboard Blackbeard's notorious vessel, the Queen Anne's Revenge, and learns that Blackbeard's hellbent on finding the fountain for fear of a prophecy that promises he will be bested by a one-legged man. 

On Stranger Tides allowed Rob Marshall to take up the helm of the franchise previously captained by Gore Verbinski. Marshall simplifies things but that only results in a restrained Pirates flick that rarely delivers the gung-ho and epic spectacle showcased in previous outings. On Stranger Tides has its moments but suffers from average action, poor pacing, flat characters, a stale story and lack of connective tissue to the original trilogy. 

At times, On Stranger Tides is able to recapture the wacky, wistful spirit of the preceding chapters but these moments are few and far between, largely quartered to the film's first act. The chase sequence throughout London and pub duel are enough to entertain audiences for a solid thirty minutes, but after our characters reach the water, there's not much to see aside from a savage scheme to capture a mermaid. On Stranger Tides lacks the epic set-pieces and inventive action to keep audiences engaged for the long voyage ahead.

On Stranger Tides marks the fourth Pirates screenplay to be penned by Ted Elliot and Terry Rossio, who you'd suspect would have charted a careful course after four movies. However, the duo concoct a story that simply didn't need to be told. Elliot and Rossio tied a neat, nice bow for the finale of At World's End but find difficulty unraveling things to send Captain Jack off to make another billion for the Mouse House. The plot connects to previous Pirates movies by the single thread that Jack was searching for the Fountain of Youth and has little else to tie things together, going as far to trapping the Black Pearl's plucky pirate crew in a bottle so they're also out of the picture. 

Elliot and Rossio struggle in regards to characterization. Jack Sparrow works best as a character when when contrasted against full fledged heroes. Sparrow's the comedic supporting anti-hero so that juxtaposition is necessary to bring out any growth for his character, otherwise he's the same rugged rogue when everything's all said and done. However, On Stranger Tides places Sparrow front and center as the lead protagonist and doesn't bring any courageous souls as a source of variation. The screenplay even fails to give any characters much of an arc, considering almost all of them end up where they started to some extent. Elsewhere, Hans Zimmer composed yet another spectacular swashbuckling score that has some Latin flair thanks to guitarist couple Rodrigo y Gabriela.

The cast is composed of both veteran privateers and fresh sea dogs this time around since most of the original cast bowed out for this installment. Johnny Depp's portrayal of Captain Jack Sparrow as the silly sailor never fails to amuse but he definitely seems to be on the verge of running aground. Depp's turn feels a tad worn-out and is more of the same that you've come to expect from the savvy scoundrel, the unexpected. Opposite Depp, Penélope Cruz is introduced as Sparrow's by-gone lover Angelica and projects a veil of mystery around her character, making her an interesting addition. While the two of them remain among the film's more entertaining pairings, it's a little will they/won't they with the relationship. This grows so tedious that viewers will be completely confused where either character stands when things are over with since their motivations flippantly flop around. 

Ian McShane brings a grounded gravitas to Blackbeard but fails to make his mark in the halls of the franchise's sinful scoundrels. Blackbeard just doesn't have the meaty malevolency that an accomplished antagonist needs so he's not particularly memorable once the credits start rolling. The reappearing rogues encompass Geoffrey Rush and Kevin McNally as former pirate, now British naval privateer Barbossa and dependable first mate Gibbs. Despite his changed allegiance to the Queen's navy, Rush exhibits all the seaside scurvy you can possibly imagine from Barbossa and is certainly one of the film's higher marks. 

The supplementary supporting characters include Sam Claflin's devout Christ follower Phillip and Astrid Bergès-Frisbey's melodious mermaid Syrena. The two were clearly meant to fill in the star crossed lover slot left open by the absence of Will Turner and Elizabeth Swann but their relationship falls flat. The relationship isn't built on much of a foundation and feels crammed into the proceedings for the sake of having a love story. If that weren't enough, both actors are deliver one-note performances so neither of their characters feel fleshed out whatsoever. 

In summary, On Stranger Tides isn't without its merits but they're few and far between this bloated sequel. Rob Marshall's effort to simplify things only made the franchise all the more convoluted as there's simply too many new characters for audiences to invest in any persona. Pirates of the Caribbean: On Stranger Tides pathetically paddles behind its predecessors, desperately seeking hold of any thread it can to keep the franchise afloat. 

Film Assessment: D

Throwback Thursday Review: 'Pirates of the Caribbean: At World's End'

I apologize for the delay on this review as I had final exams to prepare for but this week I'm reviewing Pirates of the Caribbean: At World's End to continue my series of Pirates of the Caribbean reviews voyaging towards Pirates of the Caribbean: Dead Men Tell No Tales. Next week I'll review Spider-Man 3 to tie into Guardians of the Galaxy Vol. 2 as a Marvel release and go towards my series of Spider-Man reviews leading up to Spider-Man: Homecoming. In the next three weeks you can expect plenty of reviews including a Triple-R of Guardians of the Galaxy in the next few days, Throwback Thursday Reviews over Despicable Me and Prometheus and reviews of new releases encompassing The Circle, Guardians of the Galaxy Vol. 2, and King Arthur: Legend of the Sword, and Alien: Covenant.

'Pirates of the Caribbean: At World's End' Review

Nominated For: Best Visual Effects and Best Makeup.

Pirates of the Caribbean: At World's End furthers the swashbuckling seafarer saga shortly after the events of Dead Man's Chest. William Turner and Elizabeth Swann are joined this time by a resurrected Captain Barbossa and the crew of the Black Pearl on a voyage to the world's end so they can retrieve an estranged Jack Sparrow from Davy Jones' Locker for a final confrontation with Jones, Lord Beckett, and the West India Trading Company's fleet. 

Director Gore Verbinski returned for one last go-around at sea and definitely delivered on spectacle, seeing as the stormy sea skirmish alone makes for an epic engagement with plenty of memorable moments. Verbinski certainly sought to make this film in the vein of other epic threequels like Return of the King or Return Of The Jedi and succeeded in upping the ante of the action. This is only enhanced by the wonderful work from Verbinski's technical crew that bring the sights and sounds of the kooky Caribbean to life including cinematographer, production and costume designers, vfx artists, sound design team, and composer Hans Zimmer.

Ted Elliott and Terry Rossio maintain their position headlining the screenplay for the franchise and successfully tie up loose ends from the Pirate predecessors even if the flow of the story has to suffer a bit along the way. Admittedly, the plot is rather convoluted at times and it becomes difficult to keep track of all the double crossings but Elliot and Rossio do a fine job unravelling things enough to provide satisfying pay-offs to all the dangling story threads that originated with Curse of the Black Pearl. I presume that this installment was originally intended to cap off a trilogy, yet the ending sets the stage for On Stranger Tides, so there's no telling if it was made with a fourth film in mind or if that decision was made after the box office receipts came in.

What At World's End lacks in coherence, it makes up for with entertainment value, so despite a runtime of two hours and forty-nine minutes At World's End is a well-paced buccaneer blockbuster. Johnny Depp's back parading about with the savvy Sparrow-schtick we've come to know and love, stretching his sea legs to play multiple Jack Sparrows in some bizarre dream sequences and hallucinations. Orlando Bloom projects forth courage and confidence as Will Turner, while Keira Knightley's Elizabeth Swann completes the transition from former damsel to Pirate Lord thanks to her valor and quick-thinking. 

In the meantime, Geoffrey Rush chews up the scenery now that he's back as the scoundrel pirate Captain Barbossa, Tom Hollander plays the clean-cut British menace Lord Beckett, and Bill Nighy's Davy Jones commands the gravitas of an accomplished antagonistic force. Remaining supporting cast members Kevin McNally, Jack Davenport, Johnathan Pryce, Stellan Skarsgård, and Naomi Harris reprise their respective roles to fill out the cast as faithful first mate, the composed British naval officer, dignified governor, devoted servant of the Flying Dutchman, and a supernatural sorceress.

In conclusion, At World's End brings sufficient closure to the Turner/Swann storyline (although I suspect the arc will resurge in Dead Men Tell No Tales based on the film's marketing) and makes for another entertaining oceanic escapade thanks to the talented cast and crew on board.

Film Assessment: B-

Throwback Thursday Review: 'Pirates of the Caribbean: The Curse of the Black Pearl'

Sorry for the delayed review but this week I'm beginning a new series of reviews over the Pirates of the Caribbean franchise starting with Pirates of the Caribbean: The Curse of the Black Pearl. The reviews will be spaced out intermittently till Pirates of the Caribbean: Dead Men Tell No Tales in May. In the meantime, next week I'll be reviewing The Wolverine to coincide with the release of Logan since Logan will be Hugh Jackman's final outing as Wolverine and The Wolverine is the only solo Wolverine movie I've yet to review. The next two Throwback Thursday Reviews will be over King Kong (2005) and Beauty and the Beast (1991) to tie-in with Kong: Skull Island and Beauty and the Beast (2017) respectively. Reviews over new releases you can expect over the coming weeks include A Cure for Wellness, Get Out, Table 19, Logan, Kong: Skull Island, Beauty and the Beast (2017), and The Belko Experiment.

'Pirates of the Caribbean: The Curse of the Black Pearl' Review

Nominated For: Best Actor; Johnny Depp, Best Makeup, Best Sound Mixing, Best Sound Editing, and Best Visual Effects. 

Undead pirates have pillaged Port Royal and kidnapped the governor's daughter Elizabeth Swann, forcing blacksmith Will Turner to reluctantly team up with the egocentric pirate Captain Jack Sparrow and save Miss Swann from the cursed crew. Pirates of the Caribbean: The Curse of the Black Pearl was inspired by the Disney theme park ride, making it a nearly unprecedented idea and risky undertaking at the time. Today we see big blockbusters based off everything from toys to video games to comics to now... *shivver me timbers* emojis... With the adaptation game hitting an all-time high, it's doesn't phase audiences to look back on the humble beginnings of a franchise approaching its fifth installment and perceive the first to be a risk. Fortunately for Disney though, the risk paid off as The Curse of the Black Pearl went on to make a substantial splash at the box office (Approximately $654.3 M worldwide) and a buccaneering blockbuster franchise was born. 

Director Gore Verbinski captained the endeavor voyaging from roller coaster-to-cinema screen, thankfully realizing a movie about pirates translated from a theme-park attraction probably shouldn't take itself too seriously. Verbinski mashes Jolly Roger escapades with strange supernatural elements to craft a fascinating fictional world for these charming corsairs to inhabit and swashbuckling sequences to occur. Verbinski's technical crew put forth majestic cinematography, remarkable visual effects, rugged production design, and weathered costume design which only add further authenticity to the briny buccaneers' background aesthetic. 

Verbinski steers the action in the right direction with conventional cutlass contests and engrossing naval engagements that traverse the tricky waters of energetic entertainment and nonsensical nautical fun. In the music department Klaus Badelt composed a swashbuckling score appropriately attuned to the grand sense of adventure and danger at play that remains a source of auditory amusement. 

The script comprised of a screen story from Ted Elliot, Terry Rossio, Stuart Beattie, Jay Wolpert and screenplay penned by Elliot and Rossio plays up privateer tropes to develop an expansive sea for these scalawags to sail. The story subverts most genre tropes with its unconventional array of characters; Elizabeth Swann's persistent in the face of danger despite being positioned as the damsel-in-distress and Jack Sparrow's in it for himself yet has a heart of gold underneath his rugged exterior. 

The cast breathing life into these scattered swashbucklers add further dimension to the characters. Orlando Bloom plays Will Turner, the typical underestimated hero of the story with charm and wit to spare while Keira Knightley embodies a capable female presence within Elizabeth Swann, ever-so-slightly transcending the damsel-hero dynamic one step at a time. Bloom and Knightley are an ideal pairing as the smoldering swordsman and lovely maiden but not quite the stars of the show when it's all said and done.  

Johnny Deep makes an excellent eccentric sea scoundrel of Jack Sparrow. Depp brings both swagger and a silliness to Sparrow, allowing him to standout from the crowd and gallivant off having stolen the show. Geoffrey Rush's Captain Barbossa is a scurvyous seadog and Rush nails the dialogue delivery. Barbossa's a standard scalawag but I feel that makes him the ideal antagonist for the story. I could watch Rush and Depp trade ruthless remarks all day long. 

Filling out the supporting cast are Kevin McNally, Jack Davenport, and Johnathan Pryce as steadfast first-mate Gibbs, straight-laced naval commodore Norrington, and the prim and proper Governor Weatherby Swann. Thanks to Verbinski's direction and the outstanding work demonstrated by his cast and crew, The Curse of the Black Pearl holds up as a visually unique and entertaining seafarers enterprise. 

Film Assessment: B