Here’s the first in a sporadic new series of posts, inspired by my 100 Favourites entries, which I’ll be using to plug some of the gaps in my review archive. As a good starting example, this is the only Pirates of the Caribbean film I haven’t covered before.
Country: USA
Language: English
Runtime: 151 minutes
BBFC: 12A
MPAA: PG-13
Original Release: 6th July 2006 (UK & others)
US Release: 7th July 2006
Budget: $225 million
Worldwide Gross: $1.066 billion
Stars
Johnny Depp (Edward Scissorhands, Alice in Wonderland)
Orlando Bloom (The Lord of the Rings, Kingdom of Heaven)
Keira Knightley (Pride & Prejudice, The Imitation Game)
Bill Nighy (Love Actually, The Best Exotic Marigold Hotel)
Director
Gore Verbinski (The Ring, Rango)
Screenwriters
Ted Elliott (The Mask of Zorro, The Lone Ranger)
Terry Rossio (Shrek, Godzilla vs. Kong)
Based on
Pirates of the Caribbean, a theme park ride at Disneyland.
The Story
On their wedding day, Will Turner and Elizabeth Swann are arrested for piracy. To secure a pardon, all they have to do is bring in Captain Jack Sparrow. Meanwhile, the aforementioned pirate captain is hunting for a key that he can use to unlock a chest that contains leverage he may be able to use to escape a debt to the horrifying Davy Jones…
Our Heroes
Jack Sparrow (or, as half the characters pronounce it, Jack Sparrah), the pirate captain who looks like a drunken fool but is actually in possession of a sharp mind. Also Will Turner, the swashbuckling ex-blacksmith determined to prevent the execution of himself and his beloved. That would be Elizabeth Swann, the governor’s daughter who is altogether more capable than would be expected of a woman from this era.
Our Villains
The pirate-hating East India Company is represented by the scheming Cutler Beckett, who seeks to rid the seas of pirates. To do so, he intends to control Davy Jones, captain of the Flying Dutchman. A tentacled terror, Jones seeks primarily to add more damned souls to his crew — including one Jack Sparrow…
Best Supporting Character
Will Turner’s father, Bootstrap Bill, was condemned to the ocean’s depths, where he ended up committing himself to servitude on Davy Jones’ ship. Well, unless Will can find a way to set him free…
Memorable Quote
Elizabeth Swann: “There will come a time when you have a chance to do the right thing.”
Jack Sparrow: “I love those moments. I like to wave at them as they pass by.”
Memorable Scene
A large chunk of the climax is a set of interconnected sword fights that most famously include three men duelling each other inside a runaway waterwheel. And while that’s good, my favourite bit has always been Elizabeth, Pintel and Ragetti fighting off Davy Jones’ crew while sharing two swords (and a chest) between the three of them.
Truly Special Effect
Davy Jones is an incredible creation, the writing mass of CGI tentacles that make up his face conveying a slimy physicality that remains impressive even as some of the film’s other computer-generated effects begin to show their age.
Previously on…
Inspired by a Disney theme park ride, nobody expected much of Pirates of the Caribbean — or, as it was hastily subtitled once someone at Disney realised this could be the start of a franchise, The Curse of the Black Pearl. As that someone knew, it turned out to be something very special. Dead Man’s Chest retrofits it into being the first part of a trilogy.
Next time…
The aforementioned trilogy concludes with At World’s End, which was shot back-to-back with Dead Man’s Chest and so wraps up its many dangling plot threads. The series continued with standalone instalment On Stranger Tides, while this year’s Dead Men Tell No Tales, aka Salazar’s Revenge, looks as if it seeks to tie the whole shebang together.
Awards
1 Oscar (Visual Effects)
3 Oscar nominations (Art Direction, Sound Mixing, Sound Editing)
1 BAFTA (Special Visual Effects)
4 BAFTA nominations (Production Design, Costume Design, Sound, Make Up & Hair)
1 Saturn award (Special Effects)
4 Saturn nominations (Fantasy Film, Supporting Actor (Bill Nighy), Costume, Make-Up)
1 World Stunt Award (Best Fight — see “Memorable Scene”)
The Pirates sequels have all come in for a lot of criticism ever since their first release. It was inevitable, really: the first is basically a perfect blockbuster action-adventure movie, something any follow-up would struggle to live up to. However, I think Dead Man’s Chest has improved with age. It lacks the freshness and elegant simplicity of its forebear, true, but it still has inventive sequences, memorable characters, impressive effects, and a generally fun tone, even as it’s setting up masses of mythology that will only be fully paid off in the next instalment. That also means it doesn’t quite function as a standalone adventure. But if you readjust your focus slightly, so that the film isn’t about beating Davy Jones, but instead about finding the chest and settling Jack’s debt to Jones, it’s more self-contained than it appears.
The fifth Pirates of the Caribbean movie, under whichever subtitle they’ve chosen for your country, is in cinemas from today.
Score: 
Hated by Americans and loved (well, ok, “liked”) by everyone else (well, ok, “by lots, but by no means all, of people who reside outside America”), Disney’s attempt to pull a 
I know some people complain about simplistic stories that are used to just string action sequences together, and that’s a perfectly valid thing to get annoyed about, but The Lone Ranger swings to the other extreme and uses an over-complicated story to string together its action sequences. All it actually needs is a little streamlining, because the film is allowed to swing off into too many sideplots. This makes the middle of the film a slog, and you feel every minute of its excessive two-and-a-half-hour running time.
a recurring problem for Disney at the minute. To be frank, I’m not convinced anyone made a truly concerted effort to stem the overspend. When a gaggle of CG rabbits hopped on screen, all I could think was, “who allowed this?!” You’ve got a massively over-budgeted film that the studio want cut back, and one reason for that is CG bunnies that have almost no bearing on anything whatsoever! The amount of time and effort that must’ve gone into creating those fairly-realistic rabbits for such a short amount of screen time… it cost millions, surely. Millions that could’ve been saved with a simple snip during the writing stage if only someone had said, “well, those bunnies don’t add anything and they’ll be bloody expensive, so let’s lose them.”
I’m not quite as effusive as Hughes, but The Lone Ranger is worth the time of anyone who enjoys an action-adventure blockbuster. It’s a three-star adventure-comedy bookended by a pair of five-star railroad action sequences, which make the trudge through the film’s middle hour-or-so feel worthwhile. There was a better movie to be made here — one that was half-an-hour shorter, more focused, and probably several tens of millions of dollars cheaper to make — but that doesn’t mean the one we got is meritless.
There seem to be an increasing number of live-action directors sticking their oar into animated films; and not just lending their ideas and name, as Tim Burton did with 
Indeed, perhaps the most striking thing about Rango is ILM’s hallmark, the extraordinary realism. Though some of the characters are rendered cartoonishly (just look at Rango’s face) and all are of course anthropomorphised, the textures and lighting are as true-to-life as any of their work in live-action movies. They consciously went for a photographic look, as if it had been shot with real cameras, including consultation with Oscar-winning cinematographer Roger Deakins, and it paid off because the whole thing looks incredible. I know I only just recommended it in the last paragraph, but the making-ofs are really great for an insight into why the film looks and feels so different to most current computer-animated films. The sequences of them recording performance reference are incredible — they essentially shot some scenes in full, with the entire cast, in costume, with full props, some sets, blocking, marks, camera angles, improvisation… (The only thing lacking on the Blu-ray is a 
Back to the film itself. I know it’s less interesting, and it is far too slow at the start, but when it eventually gets underway it becomes very entertaining. Somewhere in the middle there’s a five-minute wagon/bat chase that’s a properly exciting action sequence, excellently realised. It was so good I watched it again immediately afterwards. It’s got a clever use of Wagner too, as well as some regular Hans Zimmer action scoring. Zimmer’s score throughout is top quality, referencing Morricone and all the other staples of Westerns.
The plot, however, is clearly borrowed from 
With its detailed references to other films and real-world visual aesthetic, Rango may be more likely to find appreciation among grown-ups than the children who are the typical target for English-language feature animation. Then again, there’s that immature humour I mentioned. A ‘family’ film indeed. Either way, it’s an entertaining addition to — and alternative from — American animation’s usual offerings.
100Films.co.uk 