Showing posts with label FRANCHISE. Show all posts
Showing posts with label FRANCHISE. Show all posts

Wednesday, 18 May 2011

FILM REVIEW: PIRATES OF THE CARIBBEAN IV

Captain Jack Sparrow (Johnny Depp) in Pirates of the Caribbean: On Stranger Tides.

Slow ride


Truth be told, I’m not a fan of the first three installments of Disney's Pirates of the Caribbean franchise. They always left me wanting less -- less characters, less CGI spectacle and less of a convoluted and confusing story. These movies, inspired by an amusement park ride, bludgeon you over the head with swashbuckling until you just want to close your eyes and experience something close to nothingness.

At any rate, I was sort of looking forward to Pirates of the Caribbean: On Stranger Tides, which comes four years after the third and most hated chapter, Pirates of the Caribbean: At World’s End. This time there is no Orlando Bloom (Will) or Kiera Knightley (Elizabeth) mucking up the works; Johnny Depp’s “delightful” Captain Jack Sparrow is now front and center and ready to give us a good time.

After pulling off the daring rescue of his pal, Gibbs (Kevin McNally), from a London jail, Jack runs into Angelica (Penelope Cruz), an old flame turned adventurer who happens to be the daughter of the infamous Blackbeard (Ian McShane). Against his will, Jack ends up on Blackbeard’s ship and is forced to guide the scary captain and his daughter to the fabled Fountain of Youth. At the same time, Jack's old rival, Barbossa (Geoffrey Rush), is sailing to the fountain as well, having snagged the job of captain on a royal expedition to plunder the fountain’s powers. Oh yeah, the Spaniards have a ship in the race, too (just one of many story elements that could have been easily ripped out of the movie). On their way Blackbeard and crew must find some ancient chalices and snag a mermaid’s tear to help them activate the fountain.

What I like most about the Pirates of the Caribbean movies is the makeup; a real sense of griminess and decrepitude permeates every scene. Everyone has horribly decaying teeth and is covered in soot. I could barely pay attention to the story for imagining just how ungodly these characters must smell. No toothbrushes? No showers? No vitamin C? Dear lord, can’t we just kill them all and let god brush their teeth? Pirates of the Caribbean: Stranger Tides coasts along on sheer spectacle for a good long while before that inevitable fatigue hits us. In the meantime there are some great set pieces, breathtaking crane shots of awesome looking ships and a pretty cool scene in which Jack's crew falls victim to a school of seductive and super vicious killer mermaids.

Running for a total of 136 minutes, Pirates of the Caribbean: Stranger Tides makes us wait two hours to get to the Fountain of Youth only to do absolutely nothing with the idea of a mythical magical fountain. Nobody ages rapidly and disintegrates in front of your eyes; nobody drinks too much from the fountain and turns into a baby or anything. Imagine if, at the end of Raiders of the Lost Ark (1981), Dr. RenĂ© Belloq (Paul Freeman) opens the ark to find nothing but sand and then…that’s it. No screaming ghosts and no melting faces. That’s sort of what the finale of Pirates of the Caribbean: Stranger Tides is like.

Depp’s charm is palpable in Pirates of the Caribbean: Stranger Tides, but after two hours of Jack cracking wise, messing shit up and acting like a goof you sort of want him to stop the shenanigans, get angry and be a real hero. I prefer an action hero like an Indiana Jones who is serious, troubled, super-focused and will crack a joke only when cornered. Jack is too silly and unreliable to really get behind. All he does is stumble into tedious sword fights and swing on things. I hate to say it, but isn’t sword fighting in general fairly dull to watch? It’s especially dull in Pirates of the Caribbean: Stranger Tides since the film’s violence is completely sterilized and bloodless. After any given large scale sword fight you’re never sure whether everyone was killed or nobody was killed. Since nothing is at stake, you are never fully involved in the action. You know what Indy does to swordsmen? ‘Nuff said.

Cruz’s Angelica has all the gravitas of lovely Spanish wallpaper. She made me pine for the enchanting and smashed-in face of Knightley. Cruz was super shrill, annoying and hard to understand in Blow (2001) -- the first film she appeared in with Depp and in Pirates of the Caribbean: Stranger Tides -- and she continues from there. Clearly Jack and Angelica are supposed to have Indy/Marion Ravenwood (Harrison Ford/Karen Allen) like chemistry, but Pirates of the Caribbean: Stranger Tides has no classic reunion scene like the one in Raiders of the Lost Ark where Indy walks into Marion’s Tibetan tavern after all those years only to get punched in the jaw. Jack and Angelica run into each other, spew a lot of awkward exposition about their past and continue to bitch back and forth until the end. We don’t care about their love. McShane’s Blackbeard is quite frightening at first, but over the course of this endless movie he loses his presence. It would have helped if we knew why he had supernatural powers and if we got to see a bit of his back story.

Of course Keith Richards pops in for a meaningless cameo as Jack‘s pirate dad. What a horrible relationship this father and son have. Senior surprises Junior. Junior says “Hi, Dad.” Senior gives Junior some quick warnings in a pub and then vanishes into thin air when Junior isn’t looking. Wouldn’t a hug have been better?

Directed by Rob Marshall (Chicago; Nine), and credited to nine different writers, Pirates of the Caribbean: On Stranger Tides doesn’t really improve on the previous films and, unless the next one gets an R rating, costs two million to make and is directed by Neill Blomkamp (District 9), I don’t have much hope for the franchise.

Oh, and of course the 3D glasses made everything a little darker and therefore had me wishing I could watch it in 2D. Idea: why not boost the brightness on the entire film one stop so the glasses will make the picture normal? Genius.

Saturday, 14 May 2011

FILM REVIEW: THE PEOPLE VS. GEORGE LUCAS

A George Lucas in The People vs. George Lucas.
Yes, Sir, may I have another?


Star Wars: Episode IV - A New Hope is one of the first movies I remember seeing in a movie theater. I was five-years-old at the time. I instantly became my parents’ worst nightmare: a  desperate addict in dire need of everything and anything related to Star Wars. There were millions of others like me, young children brainwashed into a zombie-like state of mass consumerism that was impossible for most parents to combat (that is without lopping our heads off). With our Star Wars action figures, we immersed ourselves into daydreams of the Star Wars universe, building upon the foundation George Lucas laid out for us, developing brand new scenarios, ideas that (as it turns out) Lucas himself could never match in his wildest dreams.

If only Lucas could tap into the collective consciousness of his fan base, the franchise may have taken another path. There is no debating -- amongst fans, at least -- the legitimacy of Star Wars: Episode V - The Empire Strikes Back; so it was not until Star Wars: Episode VI - Return of the Jedi that fans of Lucas’ franchise first had to deal with disappointment.

That disappointment then boiled into disdain in 1997, when Lucas released new versions of A New Hope, The Empire Strikes Back, and Return of the Jedi. Not only did Lucas tinker with the special effects and editing, but he also added new material (including a universally detested new scene in A New Hope in which Han Solo’s altercation with the bounty hunter Greedo plays out much differently). Lucas the almighty “Creator” declared the new versions of episodes IV - VI to be not just the definitive ones, but the only surviving ones -- therefore the version of A New Hope that was inducted into the National Film Archive no longer exists?! 

(Note: In the mid-1980′s, Lucas led a campaign fighting against Ted Turner’s attempt to colorize the black and white films that Turner owned. These films were not originally created by Turner, which would probably be how Lucas would justify how this is not contradictory to his own actions.)

The backlash against Lucas only became increasingly tumultuous with the long-awaited release of the prequel episodes I - III. Many Star Wars fans protested against the inclusion of an all-too-comedic -- and depending on who you ask, racist -- character, Jar Jar Binks; while most felt as though the patronizing and childish tone of the prequel trilogy was contrary to episodes IV - VI. Nonetheless, Star Wars fans returned to the cinemas time and time again to watch these horrendous films. Why? Did they hope to glimpse a fleeting moment of Lucas’ genius that they missed during their first 10 viewings? Or were they just addicted to Star Wars?

Time and time again, Lucas did not listen to his all-too-loyal fan base but, then again, why should he? Interviewees in Alexandre O. Philippe’s documentary draw comparisons between Star Wars fans and heroin junkies or victims of domestic abuse. The backlash never seems to last as the addicted fans keep coming back for more frustration and disappointment. Even now, if Lucas released an episode VII, I guarantee that fans would still turn out in record numbers to repeatedly watch the next train wreck of a film. Yes, I can also guarantee that it would be a train wreck.

The People vs. George Lucas poses the question: Who owns a piece of art? The creator or fans of that art? A more interesting question, in my opinion, would be: Why do so many people still like the Star Wars franchise? (Lucas’ pompous attitude notwithstanding.) Even the two Star Wars films that are repeatedly placed on a pedestal above all others -- A New Hope and The Empire Strikes Back -- are not great films. However, the first trilogy was masterfully crafted to appeal to a specific age demographic for whom Hollywood was not traditionally producing films. Kids do not care about the art of the cinema; they just want to be entertained, and Lucas grasped that. It also turns out that kids can fester into quite the rabid fan base (the Toy Story and Shrek franchises preyed on the same demographic), but who could have ever anticipated that this fan base would remain loyal to Star Wars three decades later? The Star Wars films (and the clever marketing strategies) spoke to the kids of the 1970s and 1980s, and despite being embarrassingly cheesy and not well-written, they still fostered a creativity in youth that has been unmatched ever since.