Pirates of the Caribbean: Dead Men Tell No Tales No New Treasures

Posted by Zotta Rendevouz

Since Hollywood loves a nostalgic reboot, it is not surprising that the franchise "Pirates of the Caribbean" reopened "Strange Tides" six years after 2011. For this movie titled "Dead Men Tell No Tales" hired A Disney a theater duo less known to revive the series with a pair of Norwegian filmmaker Joachim Rønning and Espen Sandberg who directed the 2012 film Ocean Adventure "Kon-Tiki ".

What she was exposed to was a "pirate" film faithfully following the formula, try to reproduce what first made these attractive films. Mix a Johnny Depp (hard on the eyeliner) twisted with a young girl in a corset and split up with a noble and beautiful start. Immerse yourself in a supernatural villain of water penetrated, then jump over a daring leap, a run for escape and several water slaughter. Finished with an extremely exotic result.

The over-arched story is about the young sailor Henry Turner (Brenton Thwaites), who is destined to liberate his father, Will (Orlando Bloom), a cursed and watery existence. Henry believes the famous Jack Sparrow (Depp) to help you find the Poseidon's Dreizack to break the curse. It is a miracle that someone can think Sparrow can do something in his state ofen rum, but Turner connects the muddy old pirates and a young witch imprisoned woman (pronounced science), Carina (Kaya Scodelario), who claimed the card No Man , A newspaper astronomical guide can read I believe will lead to the Dreizack.

They just have to escape Captain Salazar (Javier Bardem), a Spaniard doomed to a ghostly existence by Sparrow. He’s been working out his frustrations pillaging the fleet of Captain Barbosa (Geoffrey Rush), working his way to Sparrow. Carina leads this whole brigade with her map to the stars. Despite following her, no one actually believes that she knows what she’s talking about. It’s frustrating, but also gratifying when she is eventually able to prove herself right — ultimately, this is a film about men not believing women when they speak.

As charming buffoon Jack Sparrow, Depp has always been able to walk the line between hero and damsel in distress, but one can’t help but think that his performance here works only because of the groundwork laid in prior “Pirates” pictures. He simply gestures toward the Jack Sparrow notes that we’ve already enjoyed, previous punchlines included. One scene offers a glimpse of Sparrow’s origin story, which could be rich cinematic territory but, rendered with digital airbrushing, the zombie youth-effect is distracting.

Rønning and Sandberg have a faculty for dry-land action sequences, full of Buster Keaton-style feats of physics. A bank vault robbery references a similar stunt from 2011’s “Fast Five.” But their ocean-bound action leaves something to be desired. Ghost ships loom out of the night fog, unfurling and attacking like a giant centipede filled with half-faced warriors. The geography and timelines are muddled and confusing; all is lost in a grayish CGI blur.