Pirates of the Caribbean: Dead Men Tell No Tales (2017) : Captain Jack Sparrow searches for the trident of Poseidon.
Directors: Joachim Rønning, Espen Sandberg
Writers: Jeff Nathanson (screenplay), Jeff Nathanson (story by) | 5 more credits »
Stars: Johnny Depp, Geoffrey Rush, Javier Bardem
Captain Jack Sparrow finds the winds of ill-fortune blowing even more strongly when deadly ghost pirates led by his old nemesis, the terrifying Captain Salazar, escape from the Devil’s Triangle, determined to kill every pirate at sea…including him. Captain Jack’s only hope of survival lies in seeking out the legendary Trident of Poseidon, a powerful artifact that bestows upon its possessor total control over the seas. Pirates of the Caribbean: Dead Men Tell No Tales (2017)
Official Sites: Official Movie Facebook Page | Official Site
Release Date: 26 May 2017 (USA
Pirates of the Caribbean: Dead Men Tell No Tales (2017)
For the past decade or so, the Pirates Of The Caribbean franchise has been living, lumbering proof of Hollywood at its most excessive and profit-oriented. It’s hard not to look at the three films following the sublime Curse Of The Black Pearl as shameless money- making opportunities – the budgets grew bigger and the action sequences more extravagant, sure, but the plots also became more convoluted and forgettable.
One would be forgiven for assuming that Salazar’s Revenge (or: Dead Men Tell No Tales), the fifth and purportedly final Pirates installment, is every bit as bloated, clunky and (largely) free of artistic merit. Surprisingly, that’s not the case. While Salazar’s Revenge does suffer from some of the franchise’s most pervasive problems, it’s a fun, perfectly decent blockbuster that remembers to add some very welcome heart and soul back into its story and characters.
The film opens on Henry Turner (Thwaites), now a young man determined to free his dad Will (Bloom) from his cursed servitude as the ghost captain of The Flying Dutchman. Henry’s quest prompts him to seek the help of Captain Jack Sparrow (Depp) as he hunts for the Trident of Poseidon, the magical MacGuffin that can undo the many nautical curses plaguing the high seas. Along the way, Henry’s fate becomes entangled with that of astronomer extraordinaire Carina Smyth (Scodelario), who is the key to deciphering the map that points the true way to the Trident.
Matters are complicated, of course, by the film’s top-billed, Oscar- winning antagonists. Salazar (Bardem), a ghostly menace trapped in the moment of his grisly death, rises from the depths to exact his titular vengeance upon Captain Jack. He is helped (and occasionally hindered) by Hector Barbossa (Rush), whose complicated relationship with Jack – teetering as it always does on the knife-edge between friend and foe – has been the unmitigated highlight of even the worst films in the franchise.
That’s a lot of plot and character to work with, and Salazar’s Revenge doesn’t always succeed in tying all the threads together. Setting all the characters on an inevitable collision course takes ages. The sprawling action sequences too often seem to forget when to call it quits. Jeff Nathanson’s script, while sharper and more coherent than its predecessors, tends to get mired in laddish moments and gags that aren’t even that funny the first time around: from the pirates’ amusement with Carina declaring herself a ‘horologist’, to an awkward beachside wedding that’s as uncomfortable for audiences to watch as it must have been for the actors to shoot.
What the film gets right is its decision to return Captain Jack to supporting-character status. That’s not to say he doesn’t have plenty of screen-time. As he has done since 2003, the perennially half- drunk Jack shambles throughout the film, oozing his trademark insouciant charm as he tries to make his crew pay for the privilege of serving and saving him. But Jack is not called upon to carry the emotional weight of the film here, as he has been for the past few films – especially Stranger Tides, a peculiar misfire on almost all counts. Instead, he’s allowed to do what he does best: steal most of the scenes he sashays through.