Orlando Bloom

A Pirates Life for Us: In Defense of the ‘Pirates of the Caribbean’ Sequels
A Pirates Life for Us: In Defense of the ‘Pirates of the Caribbean’ Sequels
A Pirates Life for Us: In Defense of the ‘Pirates of the Caribbean’ Sequels
Disney’s Pirates of the Caribbean is one of the most popular franchises of all time, and yet only one out of its four movies are remembered in a positive light. Gore Verbinski’s The Curse of the Black Pearl was a throwback to old school popcorn blockbusters, a family-friendly adventure full of expertly choreographed action, led by a rebellious hero with some romance. The original hit led to three sequels that broke multiple box office records for the Disney property, yet the Pirates franchise only soured in the mouths of critics.
‘Pirates of the Caribbean: Dead Men Tell No Tales’ Review: A Once-Great Franchise Sinks to the Bottom
‘Pirates of the Caribbean: Dead Men Tell No Tales’ Review: A Once-Great Franchise Sinks to the Bottom
‘Pirates of the Caribbean: Dead Men Tell No Tales’ Review: A Once-Great Franchise Sinks to the Bottom
When last we saw Johnny Depp’s Captain Jack Sparrow he was, I don’t know, doing pirate stuff probably? After the first Pirates of the Caribbean, 2003’s The Curse of the Black Pearl, all these movies began to blend together. Some sword fights, a mystical MacGuffin, an all-powerful bad guy, a couple battles at sea, blather, mince, repeat. Even though the latest, Dead Men Tell No Tales, comes from a new pair of directors (Kon-Tiki’s Joachim Rønning and Espen Sandberg), it’s basically indistinguishable from the three previous sequels, except that it’s even worse than they were.
London’s Clock Is Ticking in the First ‘Unlocked’ Trailer
London’s Clock Is Ticking in the First ‘Unlocked’ Trailer
London’s Clock Is Ticking in the First ‘Unlocked’ Trailer
Since the presidential election, many critics have been quick to point out that not every film released should be viewed as a response to Trump’s presidency. Movies spend far too much time in production for any 2017 to really have a chance to incorporate the current political climate into its message. What is acceptable  —  and perhaps even necessary  —  is to acknowledge when new releases feel like the product of a bygone era. Sometimes, Hollywood is unprepared for large cultural shifts, and that means movies that would have been fine even a year ago sit wrong with most audiences.

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