"Bella force," someone will say, and indeed, our door is behind a series of commercial films with no special claim as the remake of The Ring and the trilogy of Pirates of the Caribbean .
And his poetry speak of a sound bit 'too much, we say that rank is of course a summary of recurring themes and situations in the film's American director, but there's that bit more. And I'm not just referring to the game of references typical of a cinema (pseudo) authorial borne by the school of Tarantino (by the way, here find a summary Quote of the most obvious). I refer to those forms of neo-narrativism who can tell a solid story on scaffolding dense and deep.
The trip begins on the road to the Lizard The Mexican (and the young lizard crashes into the windshield of Depp Fear and Loathing in Las Vegas who stole the flowered shirt) and closes in the visions milky Jack Sparrow. In between, a nouvelle vague speech on the role of the character, four storytellers who betray their function (four times we are predicting the death of the protagonist), and a constant forcing of the roles and functions diegetic. All this is topped by the wonders of CGI and photography of Deakins (that of the Big Lebowski, for instance). There would be discussed for a long time 'and I can not wait to read some analysis done well (or a good book on that Verbinski is sure to be on site after this gem.)
In the meantime, go see it and, if possible, forget the bullshit in Italian poster (the remake of My Friend? But do me the pleasure!).
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