The opening sequence of Dead Men Tell No Tales finds young Henry (Lewis McGowan) rowing out to sea, tying a bag of rocks to his leg and plunging into the sea – where he lands on the deck of the sunken Flying Dutchman and we learn that he is the son of Will Turner (Orlando Bloom).
From there we shift to Captain Jack Sparrow (Johnny Depp) and his crew robbing a bank – an effort that takes a hilarious path.
It’s a true pity that the rest of the movie couldn’t have been as inventive.
Maybe it’s just the mood I had going into Baywatch (looking for a laugh or two after a day of packing up to move), but I quite enjoyed Baywatch.
I only ever watched a couple episodes of the TV series, but the movie seemed to hit every one of the major parts of the show – slo-mo Baywatch babe; overly earnest Mitch Buchanan; plucky comic relief (who’s so quick to melt down when his crush is around that he doesn’t realize that she’s into him from the beginning); totally inappropriate investigation of suspected criminal activity; lots and lots of beautiful beach people.
Maddy Whittier lives in a house that, like the Mars biosphere training facility, is completely sealed off from the rest of the world – because Maddy has Severe Combined Immunodeficiency (SCID), making her essentially allergic to almost everything.
When Olly Bright’s family moves in next door, he notices her looking out her window and is intrigued.
Based on the novel by Nicola Yoon, Everything Everything is a story of first love/coming of age/indomitable spirit.
Guy Ritchie made his bones (so to speak) on hard-edged crime films with wicked humor and striking visuals. Then he went big budget with Sherlock Holmes and provided a very different (but surprisingly canonical) consulting detective. Next up was the criminally underrated The Man From U.N.C.L.E. – the best non-Bond Bond flick since the first Jason Bourne.
Now Ritchie is dissecting and reassembling the Arthur legend in King Arthur: Legend of the Sword – and it’s a very kinetic movie that is also, simultaneously, more than a bit of a slog.
Guardians of the Galaxy Vol. 2 is not as fresh and unexpected as Vol. 1 – how could it be?
Instead, Vol. 2 follows the Star Wars plan of taking the characters who came together in Vol. 1 and separating them into unexpected combinations to dig into who they are – while engaging in explosive hijinx and, yes, saving the galaxy (and probably the universe), again.
There’s a Paul Walker-sized hole in the middle of The Fate of the Furious that the creative team and cast try to gloss over with bigger and more ridiculous stunts than ever before.
The addition of Jason Statham’s Deckard Shaw as a member of the team, and Scott Eastwood as Mr. Nobody’s new aide help, but the loss of Walker – whose Brian O’Conner was the series’ real heart – cannot be completely overcome.
Going in Style is the rare remake that is better than the original.
That’s because it creates a plausible (if not entirely believable) set of circumstances in which three octogenarians are forced to consider the unlikely remedy of robbing a bank – and are smart enough to do it.