Pirates of the Caribbean: Salazar’s Revenge (2017)

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Aka Pirates of the Caribbean:  Dead Men Tell No Tales. Thanks to the Australian government’s tax incentives, that Pirates-shaped gap in my life has finally been plugged with a new instalment in the delayed series. I love these films, and all pirate films, and have had to sate myself with the genius Black Sails in the interim (I have one series to go, so no spoilers please! I’m still not over Charles Vane’s execution!). This is number 5 in the franchise and it operates as a kind of unofficial reboot because it has been (gasp) 14 long years since the first film, Curse of the Black Pearl, was released. And it’s aptly returned to this for most of the bones in terms of story, character and structure, even if this has way more shaggy-dogness about it in an untidy set of plot mechanics. Henry Turner (Brenton Thwaites), the son of Will Turner and Elizabeth Swann vows to find Captain Jack Sparrow (Johnny Depp) to right the wrong on his father who’s abiding in a watery limbo on the Flying Dutchman. He knows that the Trident of Poseidon will break the curse. Death meanwhile lurks on the high seas in the form of Salazar (Javier Bardem) and his ghostly crew who cannot set foot on dry land – also condemned and cursed by Sparrow’s antics. An astronomer Carina Smith (Kaya Scodelario) is being executed as a witch in St Martin where a bank is being opened – and this is where Captain Jack makes his spectacular reappearance with his unruly and disgruntled crew led by Kevin McNally, with their awful ship in dry dock where they’re all broke. Captain Barbossa (Geoffrey Rush) is summoned by Henry to help out and he is ironically reunited with a daughter who doesn’t know the provenance of the map she seeks … Colourful, silly, not entirely logical and definitely rehashing plot points from the earlier films particularly the first one, this is handled pretty well by Norwegian directing duo Joachim Ronning and Espen Sandberg working from a screenplay by Jeff Nathanson, with a story by Nathanson and Terry Rossio.  The young lovers story gets a run-through, the Barbossa plot gets a very fitting conclusion, there’s a fascinating flashback (I want one to give me skin like that in real life) and there are homages here and there to make you smile – the zombie sharks being a reference to the original summer blockbuster granddaddy of them all, the ghost crew a nod to the original’s skeleton crew, Depp taking his Robert Newton/Keith impersonation to new heights of pantomime, a great Paul McCartney cameo and a bank robbery like no other. Some of the lines could have done with a rewrite – especially the jokes which are heavy on the misogyny; and there’s no real mad surrealism which has graced previous episodes (is there anything as wild as the hallucination of the ship on dry land and the multiple Jacks?!). While most of the legendary tropes are present bar a real Brit villain the last action sequence is so darned complex I genuinely forgot what it was about. But it’s full of fun and wild adventure and I for one love this series even if number 4 fell far short of expectations. Thwaites and Scodelario make a pretty useful couple to base the next set of films, kicking some new plotlines into touch. What do you want – live action Space Mountain?! Hoist the mainbrace! Wahey me hearties! More!

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The Flight of the Phoenix (1965)

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A cargo-passenger aeroplane crashes in the Libyan Sahara:  the Sixties iteration of a disaster movie, in all but name. The pilot is James Stewart, the navigator an alcoholic Richard Attenborough and there is among the cast list a man so ill he will die if they’re not rescued soon … Robert Aldrich’s tough movie is really a brilliant set of character studies that never bows to cliche.  Adapted from Elleston Trevor’s novel by Aldrich regular Lukas Heller, it’s a marvellous portrait of people reacting to both pressure and the emergence of a Superman in their midst – a Hitlerian model aeroplane designer (Hardy Kruger) whose plan to resurrect their wreck might just get them out of there as they battle fraying nerves, water depletion and sand storms. In the midst of this we have a military type who goes on a suicidal desert walk (Peter Finch) with Spaniard Carlos (Alex Montoya) who leaves his pet monkey behind, an oil company accountant (Dan Duryea), a quasi-hysterical oil foreman (Ernest Borgnine), a doctor (Christian Marquand), a mean Scot (Ian Bannen), and a nervous soldier (Ronald Fraser). There’s more! But that’s for you to find out in this race against time. That bird ain’t called Phoenix for nothing. How the men deal with each other and their increasing frustration is brilliantly managed by producer-director Aldrich and the performances are knockout. This wasn’t a hit at the time but has since become a major cult film.

The Jungle Book (2016)

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I was indisposed to the idea that the classic Disney cartoon would get a revamp. Part of my problem with photo-real animation is that when things get dark they get very lifelike and sinister indeed, as we found with the beyond-creepy Spielberg takes on Tintin and The BFG (where the villainous giant seemed like a big ole murderous paedophile). So when man-cub Mowgli gets separated from his wolf family and taken away to his own people by black panther Bagheera (Ben Kingsley) the shifts in tone from good nature (Baloo the bear, Bill Murray) to bad (Shere Khan the tiger, an almost incomprehensible Idris Elba) are very jarring. The musical interludes while entertaining seem like they’re dropped in from another movie. Overall however, it has to be admitted that it all works out in the end. Good stories are sometimes immune to strange interpretations. And how nice is it to hear Garry Shandling voicing the porcupine?  Written by Justin Marks, directed by Jon Favreau.