Seems Like Patty Jenkins Didn’t Even Need To Cut A Single Scene
At times, it feels like most of the press concerning any film from the DC Extended Universe is plagued with negative headlines. Even the upcoming ‘Wonder Woman‘ faced some online rumors about the production; which is silly now with the critical praise. The film’s director Patty Jenkins kept quiet but she recently opened up to Collider about the rumors.
“That was actually the most frustrating thing when somebody made up the rumor that it was a mess and I was like ‘Really? A mess? It’s the opposite, it is so steady, it’s been so even keel and steady,'”
“It’s been such an opposite experience. … The rumor mill of these movies has been quite something to behold.”
How steady was it? Patty Jenkins dived deeper in the post-production process for the film.
“You know, it’s not like a long journey didn’t happen but what amazes me is how little has actually changed from the first cut other than tightening,”
“Little changes to the final battle, that was really it. I think that what I ended up finding about the final battle was I was hitting emotional points for Diana that I really wanted to hit but I felt a craving for some other kinds of emotional gratification and engagement that we tried to accentuate even more. I think what you learn is rhythm, tone, humor where the jokes are happening but in our case, I just now can finally say all this. We didn’t cut one scene in this movie nor did we change the order of one scene in this movie from the script that we went in shooting with.”
It’s not too often that a director shoots for the edit so perfectly but Jenkins seemed to make editor Martin Walsh’s job that much easier. Speaks volumes to the work Patty Jenkins and crew did on-set but to a solid script. Also not changing much from your first cut is either a sign of perfection or madness…Patty Jenkins could have both!
With a week before the release, everything seemingly came together to create what critics are calling “the best DCEU film to-date”.
‘Wonder Woman‘ charges into theaters on June 2, 2017. The film stars Gal Gadot, Chris Pine, Robin Wright, Danny Huston, David Thewlis, Connie Nielsen and Elena Anaya.
Fourteen years ago, Disney took a relatively massive gamble. They decided to adapt a 40-year-old theme park ride into a blockbuster film, with the producer of Top Gun and the director of The Ring. Today, Dead Men Tell No Tales, the next installment in the $4 billion franchise that is Pirates of the Caribbean (PotC), releases. It’s safe to say that it was a good bet for Disney.
However, the franchise’s financial and critical success has waned since the release of the first film, The Curse of the Black Pearl. While it is still a box office and merchandising juggernaut, the groans were audible when the newest movie was announced. And there are legitimate reasons to be tired of the franchise, including convoluted storylines and a severe lack of character development.
Given the current state of things, it is no easy task to write a defense of PotC. But it is worth re-watching, if for no other reason then a fascinating and original narrative on immortality. The following is a passionate defense of the original trilogy (no one can save On Stranger Tides) based on this narrative alone, and why it is still worth your time.
*Note*: This is in no way a defense of Johnny Depp, who has been accused of domestic abuse. Like many, I feel morally conflicted about watching his films, based on his behavior. Boycotts against his past and future movies are legitimate. That being said, I hope you still choose to read, as this defense is purely based on narrative and character construction. Enjoy!
Things really took a turn starting in 2006
Hungry on Immortality
Jack’s character motivation, or his want, is freedom. We are introduced to this early on in Curse of the Black Pearl: a pirate brand is revealed on his wrist, and he desperately tries to get out of the Port Royal jail. This want is made very clear when he is re-marooned on a deserted island, this time with Elizabeth Swann. In a rum-induced stupor, he confides in Elizabeth why he so desperately wants his ship back:
Jack: “Wherever we want to go, we go. That’s what a ship is, you know. Not just a keel and a hull and a deck and sails. That’s what a ship needs … but what a ship is — what the Black Pearl really is …is freedom.”
Jack’s first encounter with immortality comes toward the climax of the film. In the caves of Isla De Muerta, Jack reveals that he has stolen a gold piece from the treasure of Cortez, and is now an immortal pirate zombie. He then rejects the piece, returning it to the treasure chest and ending the curse, allowing him to kill Barbossa. This act is the first blatant rejection of immortality. Nothing is stopping Jack from taking the piece and living out his life aboard the Pearl, essentially granting him freedom from life and law.
Immortality is really bad for the skin
Yet Jack’s rejection of the gold piece illustrates his conception of immortality: another restriction of freedom. In this case, the restrictions are more material. Barbossa, Jack’s mutinous ex-first mate, describes the curse that came from their immortal gold:
Barbossa: “The more we gave [the gold pieces] away, the more we came to realize the drink would not satisfy, food turned to ash in our mouths, and all the pleasurable company in the world could not slake our lust. We are cursed men, Miss Turner. Compelled by greed, we were, but now we are consumed by it.”
While the gold would grant Jack immortality, the consequences remove his freedom. He is no longer able to eat or drink what he wants. He would be bound to a greed he would be able to sate. So he rejects the gold, and returns to the Pearl, bound for the open ocean and freedom. At least, for awhile. PotC would prove in the sequel films to have an incredibly intricate view of the relationship between immortality and freedom.
The Freedom of Death
In Dead Man’s Chest, Jack’s back story is built out more, and it is revealed that the Pearl is not quite the haven of freedom that it seems. Jack had struck a deal with Davy Jones, the immortal cephalopodic captain of the Flying Dutchman. In return for Jack’s soul and a hundred years of servitude aboard the Dutchman, Jones would raise the Pearl from the depths, and Jack could be captain for thirteen years. Unfortunately for Jack, payment had come due. The Pearl as a narrative device is then changed from a means of freedom to a reminder of Jack’s inevitable enslavement. He is floating on his demise.
To escape, Jack enters into a contradiction: he beaches his prison of freedom, the Pearl, on an island that he cannot escape, to be free of Jones. He is seen as a god by the indigenous people of the island, yet is completely at their whim (author note: this plot line sucks). The entire sequence mirrors Jack’s struggle with his freedom throughout the film and his eventual conflict with a new form of immortality.
The escape plan: to trap them on an island
Jack discovers that Jones has a weakness: his removed heart, still beating inside a buried chest. If he can get the heart – the embodiment of Jones’ immortality – then he can bargain his way out of eternal servitude. Perhaps more importantly, he can escape having his ship eaten by the Kraken. Unfortunately, he loses the heart and instead finally meets his fate.
In one of the most pivotal character moments of the trilogy, Jack is chained by Elizabeth to the mast of the Pearl while the rest of the crew escapes from the incoming Kraken. With a little pirate luck, Jack frees himself and dies fighting. This climactic sequence is a bit on the nose but reaffirms Jack’s underlying character motivation. At this moment, Jack has achieved freedom, both physically and figuratively. The outcome remains the same: he will die at the hands (mouth) of the Kraken. But he chooses to stand and fight, to run into the maw of the beast. There is no other force enacting on him at this moment. In death, Jack is finally free.
This might not be a good movie, but you can’t deny that this scene is fantastic
Immortality is a Prison
Except At World’s End shows that Jack did not die, and so did not gain freedom. Instead, he and the Pearl were sent to Davy Jones’ Locker, an endless void that lies beyond the edge of the mortal edge. He is imprisoned by a forced immortality. That is until he is freed by the rest of the ensemble cast. During this jailbreak sequence, Jack reveals his new conflict through hallucination:
Jack Left: “Clear as mud, Jackie. Stab the heart.”
Jack Right: “Don’t stab the heart.”
Jack: “Come again?”
Jack Right: “The Dutchman must have a captain.”
Jack: “Well that’s more than less than unhelpful.”
Jack Left: “Sail the seas forever.”
Jack: “I love the sea.”
Jack Left: “What about port?”
Jack: “I prefer rum. Rum’s good.”
Jack Left: “Making port.”
Jack Right: “Where we can get rum, and salty wenches, once every ten years.”
Jack Left: “What did he say?”
Jack: “Once every ten years.”
Jack Left: “Ten years years is a long time, mate.”
Jack Right: “But eternity is longer still.”
Jack: “Even longer given the deficit of rum.”
Jack Right: “And how will you be spending it? Dead? Or not?”
Jack Left: “The immortal Captain Sparrow.”
Jack: “Oh, I like that.”
Since his death, Jack has begun to flirt with the idea of immortality. But he is not convinced – instead, he is presented as incredibly conflicted. If he stabs the heart, he will be able to enjoy the earthly pleasures that the treasure of Cortez would’ve denied him – but only once every ten years. Jack likes the idea of immortality and is considering giving up freedom in return. This is made clearer in a conversation with Will:
Jack: “Death has a curious way or reshuffling one’s priorities. I’ll slip aboard the Dutchman, find the heart, stab the beating thing. Your father goes free, and you’re free to be with your charming murderess.”
Will: “And you’re willing to carve out your heart and bind yourself to the Dutchman, forever. Jack: No mate, I’m free forever. Free to sail the seas beyond the edges of the map, free from death itself.”
Will: “You’ve got to do the job though, Jack. You have to ferry souls to the next world. Or end up just like Jones.”
Jack: “I don’t have the face for tentacles. But immortal has to count for something, eh?”
Mirroring the island sequence from Dead Man’s Chest, Jack is again stuck in a contradiction: he can finally gain freedom by being bound to a job for eternity. He can become immortal by cutting out his own heart. Jack continues to struggle with this to the climax of the film when he faces the ultimate choice: to stab the heart – become immortal – or not.
Jack chooses not to stab the heart and instead allows Will to do so, thereby saving his life. Once again, Jack has chosen freedom, his underlying desire, over the immorality that would rob him of it. To stab the heart would be to damn Will to death, to earn the eternal hatred of Elizabeth, to be the pirate that the brand on his wrist says he is. In this case, immortality is shown as restricting a freedom of conscience. To achieve immortal life would require him to both literally and figuratively become heartless.
Never mind, turns out immortality makes you beautiful
Eternal Freedom
The very end of the film reaffirms everything about Jack, and the entire narrative point of the trilogy. He is alone in a dingy, in theory sailing towards the Fountain of Youth, once again in search of eternal life. And yet, this is clearly not what he wants most.
For the first time in the franchise, Jack can use his famous compass, which points to what the user desires most. The intense conflict he felt throughout the films between immortality and freedom made it so that he was not able to use the compass. But now that conflict has settled, and the needle points to the rum in his dingy. Jack is no longer searching for immortality because he must; now it is because he can. He has the freedom to search for the Fountain, or to drink rum, or to be a pirate. After all those years, Jack is finally free.
Still Worth Your Time
On Stranger Tides showed what came next for Jack and his search for the Fountain of Youth, but it had little to do thematically with the original trilogy. Aside from the antics, Jack may as well be a completely different character. So it can be ignored.
Jack’s handling of his conflict between immortality and freedom makes the original trilogy, despite all of its other problems, worth watching. Something interesting and novel is being told underneath the jokes and overstuffed plots. In the end, the narrative does not even provide closure to the conflict. It isn’t clear if Jack has decided what is right, if immortality always conflicts with freedom if the consequences are worth it. What is decided is that rum, and having the freedom to find those answers for yourself, is always a good thing.
What do you think? Is The Pirates of the Caribbean trilogy still worth watching? Let us know what you think on Facebook, Twitter, or the comments below!
The first trailer for Far Cry 5 is here, giving fans a look at the new western-themed installment in the series.
“Welcome to Hope County, Montana. When your arrival incites the cult to violently seize control of the region, you must rise up and spark the fires of resistance to liberate a besieged community.
Freely explore Hope County’s rivers, lands, and skies with the largest customizable weapon and vehicle roster ever in a Far Cry game. You are the hero of the story in a thrilling world that hits back with every punch, and where the places you discover and the locals you ally with will shape your story in ways you’ll never see coming.”
Ubisoft also notes that more Far Cry 5 details will be given at E3.
The game is slated to be released on February 28, 2017 – no platforms were given yet.
Are you looking forward to the next Far Cry? Sound off in the comments section below.
Monkeys Fighting Robots caught up with writer Scott Snyder at MegaCon in Orlando on Thursday to talk about “nerd rage,” and specifically the controversy surrounding Nick Spencer’s ‘Secret Empire’.
Snyder provided a well thought out and respectful answer, which you can watch in full here:
The Batman writer acknowledged that no one side of the argument is “right,” but that it’s a multifaceted issue. The deeper problem, he suggests, is that the comics community needs a better way to communicate with one another about these subjects. “You don’t see what we see,” Snyder says, “meaning you don’t see if somebody tags you and says something like ‘I hate you, I’m gonna punch you in the face when I see you at a con’ … and that can really work you up.”
Creators and fans are all on the same team when it comes to comics: we all want the industry to succeed. As Snyder concludes, “It’s a sign of health in the way that we’re all passionate about the characters, we’re passionate about what we want them to mean, we’re passionate about what we don’t want them to mean, and we just have to find a better way of sort of addressing that with each other.”
Keep it tuned to Monkeys Fighting Robots all weekend for more MegaCon coverage.
If you haven’t been able to tell, the comic review team at Monkeys Fighting Robots has been enjoying the results of DC Comic’s Rebirth very much. In celebration of this event we have decided to give (in no particular order) our favorite issues from the new direction DC Comics took.
10Flintstones #7
The Flintstones was not only one of the greatest comic books to come out of the DC’s line of comics based on Hanna-Barbera characters, but it was also one of the best books of the previous year period. If you haven’t taken the time to read this book, the latest issue is a perfect way to get a sense of what this book has to offer. You’ll have a gay old time.
Full Review
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What were your favorite issues from DC’s reboot? Leave a comment below and let us know.
Rage and hate filled comments are nothing new to the geek community. Often fans are too blind sided by a mixture of expectations and their own personal outlooks on life they are not willing to give a piece of media a chance. The most recent subject of such an attack is Star Trek: Discovery, which is once again being falsely labeled with the comments of bigotry. The series recently had its first trailer and has come under scrutiny by angry fans who are insisting the show is demonstrating white genocide because of the lack of more white prominent cast.
These claims seem almost as if they come from individuals who don’t get the point of Star Trek. The entire idea of Star Trek was to showcase a future where humanity had been able to transcend its own prejudices and work together in an effort to advance into a bright and prosperous future. If you’re not willing to understand how coming together despite our differences for the betterment of not only yourself but the needs of friends, community, and the world as whole then you probably shouldn’t be watching Star Trek. You should be taking a hard look at your life and wondering why you are unable to engage in common decency for your fellow man.
This article will be ended with a quote by Gene Roddenberry. A man who insisted upon the original Star Trek to have a diverse cast in the 1960s when such an idea was considered controversial. It would be easy to say he’d be very dismayed at seeing comments like this in this day and age.
At this point, it seems safe to say that concerns about this season of Fargo being too formulaic were premature and unfounded.
“The Lord of No Mercy” is now the fourth episode in which the show has broken farther from the mould it appeared to have set for itself. Normally by this point in a Fargo installment, many heads have rolled, so it seemed obvious that someone would have to die soon. In fact, the entire hour seemed to me a setup for the death of Meemo. After all, in previous seasons, there have always been henchman/hitman duos, with Mr. Wrench and Mr. Numbers in the first, and the Kitchen Brothers in the second. And in both cases, by the midpoint, one half of the pair had expired, with the other struggling a bit to go on in their absence. (The abrupt death of Mr. Numbers, played by Adam Goldberg, was one of my biggest issues with season one.) If the pattern had held, Nikki Swango might have somehow managed to get the upper hand on Meemo by sneaking up on him while he was sneaking up on her here.
But as surprising as that would have been, Fargo loves its awkward, anticlimactic death scenes, and instead it decided to kill the character who’d had the most screen time thus far in the most frustrating way possible. This show has always been unpredictable, but to have Ray die in a clumsy shove fight with Emmit takes that unpredictability to new heights.
Although Ray had easily been among the most sympathetic and likable characters of this installment, it is hard not to lay the blame for his death at his own feet. If he had just accepted Emmit’s gesture of goodwill, he would have survived. Even if he had listened to Emmit’s plea not to pluck the invasive shard of glass from his carotid artery, perhaps immediate medical attention would have saved his life. But Ray’s need to receive Emmit’s inheritance as though it had been his all along ended up making this the deadliest stamp since Seinfeld.
It’s certainly poetic that the obsession which consumed Ray literally killed him, and the death of a major character when there are so few certainly gives the final episodes a shot in the arm. But the season proposed itself as a complex relationship between brothers, and to see it descend so abruptly into a Cain and Abel story is jarring. Ray’s death is unsatisfying because now there will never be a moment of cathartic reconciliation between the brothers, nor any confrontation at all. Their silly dispute will never be resolved. The fact that Emmit is less interesting than Ray only compounds how frustrating this is.
When Emmit reacts to his brother’s death by calling Varga, it was hard not to think of Lester calling Malvo in the pilot. Varga’s plan to frame Nikki for Ray’s murder seemed particularly clever, even for this show, so it was easy to overlook Varga’s thoughts on how “things of consequence rarely happen by accident.” This seems a strange thing for the character to say after mentioning how Gavrilo Principe murdered Franz Ferdinand because of circumstances surrounding a sandwich. In fact, the vast majority of what’s happened this season has been caused by coincidences, namely the confusion of Ennis for Emmit, so Varga’s analysis appears flat-out incorrect. But instead of this being an inconsistency on the part of the writers, it seems like more of a subtle hint that maybe Varga isn’t the omnipotent mastermind he pretends to be.
His entire interaction with Gloria and Winnie seemed to make them more suspicious of Emmit than they had previously been, for example. If Varga had let Emmit handle them on his own, he probably would have been better off. Then, when Varga is searching for information on Gloria, he seems stumped when he can’t pull her up on Google. Issues with the logistics of using Google aside (that’s not what Google looked like in 2010, and typing in “Gloria Burgle” would have still gotten thousands of results, even if they weren’t what he wanted), when Varga is presented with a phantom not unlike himself, he appears almost intimidated.
On the other hand, Meemo and Yuri certainly do seem all they are cracked up to be. One of the week’s most interesting developments was the difference between the two. Yuri, who is seen holding a wolf mask like the one we saw last week, is Varga’s hammer; when he needs to solve a problem with brute force, Yuri is the one he turns to. But Meemo is more of a chisel, and when Varga has a problem that requires more finesse, he turns to him instead. Yuri takes the lead during a beatdown or a break-in, while Meemo handles subtleties like dealing with the IRS or framing Nikki Swango for her fiancé’s murder. Either way, they are beginning to make for scarier adversaries than their repulsive employer, and the idea that Gloria is on the verge of engaging them makes the wait for next week torture.
Time displaced mutant teenager Jean Grey finds herself being courted by the fiery cosmic Phoenix entity. In an effort to avoid following her adult future’s footsteps, she seeks help from fellow X-Men with previous experience. In Jean Grey #2, our young hero assembles a crew of former Phoenix hosts.
***SPOILERS LIE AHEAD***
The Phoenix has contacted Jean, she consults Beast and the scientific community on the matter, only to find nobody believes her. Ms. Grey uses Cerebro to reach out to former hosts of the cosmic force. She finds Hope Summers in danger and intervenes.
Colossus, Magik, Rachel Summers, and Quentin Quire arrive for assistance and consultation. As the “Former Phoenix Force” tears through an underground Reaver hive, Quentin gives Jean a tour through the groups mental experiences with the Phoenix.
What a lovely group of fan-favorite X-Men to watch take down waves of cyborg enemies. All utilizing their unique abilities together while giving Jean a look inside their heads courtesy of Kid Omega’s psychic bullets.
Two issues into the run, written by Dennis Hopeless, it’s been a surprise hit. Coming into a solo Jean Grey series, readers didn’t know what to expect. Hopeless has so far delivered a fast and fulfilling experience. Between this title and the fabulous X-Men: Blue, Jean might be the character benefitting most from ResurreXion.
Quentin Quire has been getting the star treatment he deserves recently. Between Generation-X, Mighty Thor, and Jean Grey, his heavy involvement is a good sign for X-Men comics.
Seeing Hope Summers appear was also a major highlight. She’s one of the most crucial players in the mutant cause that is usually left on the shelf for some reason. Hopeless and artist Victor Ibanez show her becoming more like her father, Cable, in both appearance and attitude.
As always with X-Men comics, they function best within a team dynamic. This issue is no exception, these former Phoenix hosts have a collaborative chemistry that provides a stunning visual.
The Summers’ provide a more optimistic approach to Jean’s impending fate, while Quentin and Magik do their best to terrify the young teen. Her lack of understanding, thanks to Quire’s aggressive approach, leads her to seek out Namor in the next issue.
Hopeless scripts an intriguing tale of the girl trying to avoid her seemingly unavoidable future fate. Ibanez fills every page to capacity with stunning action paired with carefully crafted layouts and designs. The combination of Jay David Ramos and Chris Sotomayor top it off by fulfilling Marvel’s promise to make X-Men comics colorful and lively again.
There’s a lot to celebrate about this series so early on. As long as Marvel manages to keep the creative team together, they should be able to continue dazzling readers as Jean attempts to forge her own path in life.
Jean Grey #2 is worth your time. This issue does more to satisfy longtime fans and newcomers alike than even X-Men: Gold. Hopefully Marvel recognizes this and keeps the team together, they have plenty more to contribute to their successful turn around of X-Men comics.
What’s your favorite ResurreXion title so far? Let us know in the comments below!
It’s hard to believe we’ve known the Force for 40 years.
Yes, Star Wars: A New Hope is officially forty years old. Now the question remains- does it stand the test of time?
Forget the sequels and prequels. Ignore the re-releases and edits by George Lucas. This is the original movie. It would kick off an extended universe and various spin-offs.
Everyone knows the story. A young princess sends two droids into hiding with top secret plans of the Empire’s secret weapon. A young farm boy finds the droids and learns of a secret plot. Enter a wizened mentor, a cocky pilot and a furry sidekick. Oh, the pilot has a starship that can complete the Kessel Run in less than 12 parsecs. From there, they set out to rescue the princess and destroy the Death Star.
https://www.youtube.com/watch?v=vP_1T4ilm8M
In terms of story, the plot is straightforward. We jump into the middle of the action and move on from there. Lucas’ writing ability is no work of genius, but he does well in setting up Luke, Leia and Han. We get hints of the galaxy’s history, and there are many references to the Clone Wars and “dark times.”
Mark Hamill is good at showing Luke Skywalker’s vulnerability and resolve to become a Jedi knight. You can see the change come over Hamill as he returns home to find his uncle and aunt are dead. His eventual growth is shown as he begins to embrace the Force and let go of his feelings. Hamill’s being the focus is a big part of what makes the trilogy work.
As Leia, the late Carrie Fisher projects a feisty persona and a tough-girl demeanour. While no means an Ellen Ripley, she holds her own, and this is true in the cell block fight. She has some of the best lines, such as calling Chewie a “walking carpet.”
Yet it is Harrison Ford who steals the show as Han Solo. Often witty and sarcastic, he goes from being a selfish pilot to galactic hero. Even when he’s thinking of himself, you can’t help but like him. Ford retains Gary Cooper’s presence and swagger of Jeff Bridges. His charisma is one of the main highlights of the film.
The rest of the cast do well in their roles. C3PO and R2D2 provide the comic relief, and it is not overdone or drawn out. Alec Guinness provides a warm, sage-like gravitas as Jedi Obi-Wan Kenobi. His grandfatherly visage masks a keen intellect and stoic vision. Even after he meets his match, Kenobi’s presence is still felt throughout the film.
Peter Cushing’s portrayal of Grand Moff Tarkin is steely and intense. It is a shame that he appears in one Star Wars film, because his villain is truly menacing. Finally, special credit goes to James Earl Jones for his powerful voicing of Darth Vader.
Technically, the film is very good with 1970s VFX. While some might call them dated, the opposite is true. Lucas’ goal was to create a “used space” which looks and feels real. He did not want to emulate the pristine vision seen in Kubrick’s 2001. Indeed, the Alien movies would follow suit. So would Battlestar Galactica.
Ben Burtt and John Dystrka’s effects are pretty cool even today. Whether it’s a blaster or a TIE Fighter, the sounds are spot-on and realistic. Look no further than the cell block shootout.
https://www.youtube.com/watch?v=3kCWFPTL-Jk
Special credit must be given to the makeup effects by Rick Baker. This is especially true in the Mos Eisley scenes. Baker’s finest work is with Chewie, whom is played by Peter Mayhew. Using a suit of yak hair and wool, he succeeds in making the Wookie both fierce and lovable.
Last but not least, the film’s score is perfect. John Williams’ sound helps to set the mood and feel of the story. Indeed, it brings to mind the scores of 1930s and 1940s movies. The climatic Death Star finale is one of his best pieces of work to date. This is among his best work as a composer.
Much is made about Lucas’ various edits over the years. The 1997 Jabba the Hutt bit is neat, but it feels a bit redundant after the Greedo scene. Sharp-eared fans can also hear changes in dialogue and sound in 1997, 2004 and 2012. In this writer’s opinion, the film is able to stand on its own without changes.
A New Hope is a fine piece of science-fiction, and it stands the test of time. While Empire Strikes Back may surpass it, this film did change the way people go to the movies. This would be the first but not the last time people would go crazy about Star Wars.
Forty years on, the Force is strong with the fans. Here’s hoping it will be just as strong for the next forty years.
Monkeys Fighting Robots Exclusive Review: ‘Dead Men Tell No Tales’
“About Last Night” is a movie review show, where movie critic EJ Moreno talks about the movie he saw last night. This week’s episode is about the newest Disney film, ‘Pirates of the Caribbean: Dead Men Tell No Tales‘.
“Thrust into an all-new adventure, a down-on-his-luck 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 (Bardem), 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‘ stars Johnny Depp as Captain Jack Sparrow. Joining him is Javier Bardem, Brenton Thwaites, Kaya Scodelario, Kevin McNally, and Geoffrey Rush. Also making a series return is Orlando Bloom and Keira Knightley.
The film opens in theaters on May 26th, 2017.
What did you think of this review? Let me know in the comments below!
