PIRATES OF THE CARIBBEAN: ON STRANGER TIDES

May 21, 2011

 Greetings again from the darkness. I will make no apology for being a fan of the “Pirates” series. This is the fourth film and the best since the first. Though I liked them enough, I felt the second and third depended too much on special effects and the need to overwhelm, whereas this one concentrates more on the colorful characters. This latest entry is also directed by Rob Marshall (Chicago) rather than Gore Verbinski, who directed the first three.

 Of course, what really matters is that Johnny Depp is back as Captain Jack Sparrow. And in fine form, I might add. He comes across more clever, witty and less buffoonish  than in the previous two. His character is much better as a worthy adversary than a clown prince. In this one, he alternates between matching wits and swords with no less than three characters. First, Geoffrey Rush is back as Barbossa. Only this time, he seems to have gone legit with the King’s navy. Next we have Sparrow’s long-lost love from Seville played by Penelope Cruz. They also match wits and swords (and facial hair). Lastly, we have the legendary pirate Blackbeard, played with full force by Ian McShane. Were it not a Disney movie, McShane could have made his Blackbeard one of the most frightening characters ever seen on screen. Even with the limitations, he performs exceedingly well.

 The “plot” of the film involves the search for Ponce de Leon’s ship and the much desired Fountain of Youth. The race is on between Sparrow, Blackbeard, the Spainiards and Barbossa who is acting on behalf of King George (a wonderful Richard Griffiths). As always, it’s not always easy to tell which characters are partners and which are adversaries. That’s half the fun! An interesting twist is that in order to have the desired results from the infamous fountain, one must drink from a specific chalice and include a single mermaid tear. Of course, everlasting youth shouldn’t be too easy to achieve. The mermaid sequences are fascinating, though we really only get to know one of them – Syrena played with soulful eyes by Astrid Berges-Frisbey.

Thankfully, two long time characters are absent from this film – Orlando Bloom and Keira Knightley. Both were dead-weight that caused major drag in the two most recent Pirates films. Cruz and McShane are infinitely more interesting and entertaining and play off of Captain Jack much better.  I did enjoy seeing Keith Richards reprise his role as Sparrow’s father.  Their scene together produces the best line in the film.

 Speaking of Depp’s Jack Sparrow, I would make the argument that this character has entered the rarefied air of film comedy icon. I would put him at or near the level of the all-time best recurring comic characters: Inspector Clouseau (Peter Sellers, NOT Steve Martin), Austin Powers (Mike Myers) and the Little Tramp (Charlie Chaplin). Of course, there are loads of others that have made a name for themselves but are a step below: Ernest (Jim Varney), Fletch (Chevy Chase), Wayne and Garth (Wayne’s World), Riggs and Murtaugh (Lethal Weapon), etc. I could go on and on, but you get the idea.

As I have stated many times, comedy is such a personal taste that it’s always difficult to review. What sets the Pirate’s films apart (especially one and four) are the characters combined with action and witty banter. No, it’s not for everyone, but if you like this style, it’s difficult to beat.  YO-HO, YO-HO …

SEE THIS MOVIE IF: you have been hoping this franchise would go back to featuring Depp’s Sparrow OR you somehow missed the first three but are in the mood for a rollicking good time

SKIP THIS MOVIE IF: you didn’t like the first one OR seeing Keith Richards causes nightmares


BROKEN EMBRACES (2009)

January 3, 2010

 (12-26-09) Greetings again from the darkness. I have no qualms in admitting that I worship Pedro Almodovar as a filmmaker. His films have made me laugh (Volver), think (Talk to Her) and have yanked me out of my comfort zone (Bad Education). With Broken Embraces, the maestro has so many nuances and details brewing below his always stunning surface that I found myself really working to assemble the pieces as the film went along.

His fabulous muse, Penelope Cruz, is back and in full splendor. Pedro has always had a talent for exciting and fully developed female characters and here, both Ms. Cruz and Blanca Portillo are absolutely fascinating. The male lead is Mateo, a film director played by Lluis Homar (Bad Education). I won’t try to simplify the multi-faceted relationship and story lines other than to say this is a touch noir, with revenge, jealousy, obsession and of course, love – both full display and unrequited.

Sadly, many Americans will skip this one because of subtitles, but I hope it finds an audience on DVD. From a visual perspective, the color red abounds here … passion or blood? That’s the big question. There are many wonderful scenes that feature beautiful shots from Pedro, as well as some of the best dialogue he has ever written. From a film-making perspective, this one deserves multiple viewings – and will get it from me!


NINE (2009)

January 3, 2010

 (1-2-10) Greetings again from the darkness. I am so conflicted on how to analyze the film and what to say. Being a fan of Fellini’s 8 1/2, I really was hoping director Rob Marshall (Chicago) could pull it off. The cast is dazzling and deep. The question begged, would it be an homage to Fellini, the Broadway musical or go a different route altogether? After seeing the film, I still can’t answer that question and that’s a major problem.

The great Daniel Day-Lewis is in the key Guido role. His musical numbers lack punch, but the rest of his performance is outstanding. All of the brilliant women do the most possible with their musical numbers. Penelope Cruz is quite provocative (as the mistress), Nicole Kidman is classy as the starlet, Fergie is explosive as Guido’s childhood obsession, Kate Hudson is energetic as the lusty American, Judi Dench is sage as the muse, and Sophia Loren comes off as royalty as Guido’s mom.

You will note that I failed to mention Marion Cotillard. The reason is that she stands out among the others. Her first number is the key to the film and the first real emotion that we get. She is outstanding and deserves recognition that she probably won’t get.

Each of the stars is just that … a star. The film never really allows us to connect to a character. There are so many fine pieces, but the lack of cohesiveness causes this one to be a near miss as a complete film. Don’t let this scare you away. If you haven’t already done so, seek out Fellini’s 8 1/2 .. THAT one is definitely worth your time.