Pirates of the Caribbean 4: On Stranger Tides

Captain Jack Sparrow finds himself on a quest to help a woman from his past named Angelica find the Fountain of Youth. But they are not the only ones pursuing this fabled treasure, and Jack must use all of his wits to not only find the fountain, but survive the likes of his old nemesis Barbossa, the Spanish, and Blackbeard.

If there was one thing most fans would expect from this fourth installment of the Pirates series, it was that Johnny Depp would once again provide a memorable/hilarious performance as the lovable Captain Jack Sparrow. Unfortunately, his Sparrow this time around was tired and haggard, much like the film itself. There were still bits and spurts of the usual Sparrow-esque hilarity but Depp looked weary and restrained, simply going through the motions in order to cash another large check from the Disney company. The rest of the cast failed to add any sort of noteworthy turn (the chemistry between Depp and Penelope Cruz was non-existent and Ian McShane's Blackbeard was never given the chance to do anything but stare menacingly at the other actors) and, quite frankly, the presences of Orlando Bloom and Keira Knightley were sorely missed. The story was a convoluted mess that tried too hard to be as clever as any of the three previous films but even if it succeeded in grabbing the audience's attention, the characters were so lifeless and uninteresting no one in said audience would care about what was happening on the screen. Oddly enough a movie about pirates was missing naval battles, it was also lacking in time spent by the characters on actual boats. While there were a couple of solid action pieces sprinkled throughout the film (the most intense and exhilarating of which was the mermaid attack on the crew, the mermaids in the "Pirates" universe are a whole lot scarier than any other mermaid one has been exposed to), a naval battle or two would have added some more excitement, which this fourth installment seemed to be lacking.

If you are a completest and have already seen the first three Pirates films, chances are you will be able to find Pirates of the Caribbean 4: On Stranger Tides somewhat watchable but everyone else would be wise to stay away from this lackluster sequel.

Grade: C-

Attack the Block: (or not)

When a group of extraterrestrials invades a South London neighborhood, a teen gang decides to take up arms in order to fight them. But they soon learn that this is a task that is easier said than done.

Attack the Block certainly put a different spin on the alien invasion film, showing the audience what would happen if aliens invaded the "wrong part" of South London but it's too bad the members of the teen gang that decided to take them on was such a group of unlikable characters that "Attack" never amounted to anything other than a daft waste of time. Moses, Pest, Biggz and the rest of the bunch were the kind of kids that you hope your own children never turned out to be. They smoked weed, cursed and were always in troubled with the law, as such only 16 to 18 year old boys could relate to them while the rest of the audience found them to be vulgar and boorish. When the audience cannot relate to or emotionally connect with the protagonists of the film, then it really just becomes an exercise of watching the clock and hoping the film ends sooner rather than later so they get on to more interesting things (as it was with this film).

Obnoxious characters, flat jokes and an insipid story are what you can expect if you decide to watch Attack the Block.

Grade: D

Drive: Buckle up for one hell of a ride!

A mysterious man known only as Driver works as a Hollywood stuntman by day and a getaway driver at night. His isolated life is interrupted when he falls for his new neighbor and is further complicated when his boss indirectly gets him involved with some shady characters.

Drive is one of those films you either love or hate, there is no in between. Those that hate it will point to the lack of sustained action, lack of an abundance of dialogue and an unsatisfying ending as the reasons for their dislike. They feel as though the film is unworthy of the hype that has been put upon it by critics. However these detractors are missing the things that make Drive worth that hype and definitely worth at least one viewing.

First, there is action, and plenty of it! Director Nicolas Winding Refn did not overwhelm the audience with fist-fights and multi-car pile ups, but used what action was there to punctuate the story of Driver (yes, that is the name of Ryan Gosling's character). Next there was the dialogue and acting. Winding Refn was able to let his actors grow into their roles, giving them a depth that most action thriller characters sorely lack. And while it is true that critical parts of the movie could be considered dialogue-lite, the performances by Gosling, Carey Mulligan, Albert Brooks and the rest of the cast were spot on and effective, giving the audience more than enough to emotionally invest in what was taking place on screen. Also, there is something to be said about how less might be more in regards to dialogue. Too often, it seems, filmmakers choose to inundate the audience with an overabundance of dialogue when two or three lines are more efficient. An example of this in Drive was near the end of the film when Driver called Irene to confess his feelings for her. Rather than laying on the full blown uber-sweet romantic drivel so readily employed by most filmmakers, Winding Rifn and screenwriter Hossein Amini kept it simple and honest (and they kept that bit of dialogue to two or three lines). The affect was more heart-wrenching than anything a long two minutes of fluff could produce. Finally, there were the foreign film sensibilities Winding Rifn imbued in the film. Scenes were allowed to develop rather than being jammed down the audiences throat with no rhyme nor reason to them and each shot was so full of meaning and metaphor that one just wanted to keep watching. Director of Photography Newton Thomas Sigel was able to give the movie a distinct look (glossy, 1980's slick are the best phrases to describe it) that added to its overall appeal.

Drive was a unique take on the action thriller, a film which was not afraid to bypass some of the tired conventions of the genre in order to give the audience a smart, artsy, thrilling rush of a ride.

Grade: A

Contagion: You will want to wash your hands after this one!

As  a deadly outbreak of an infectious disease threatens to annihilate mankind a global team of doctors and scientists struggle to not only discover where the disease came from, but also how to stop it.

The first half of Contagion leaves one absolutely petrified. Director Steven Soderbergh essentially dropped the audience right into the action as they are introduced to Beth Emhoff (Gwyneth Paltrow), barely given the chance to know who she is or anything about her before she experiences a seizure and dies from the mysterious disease which subsequently starts taking lives all over the world. It was the cold, almost documentary-like style in which Soderbergh shot this, and the realistic reactions taken by the men and women of the various health organizations (a cadre of mega movie stars including Laurence Fishburne, Kate Winslet and others), that could not help but send shivers down the audience member's spines (and have them reaching for a bottle of Purell, as they remembered all the things they touched the last time they were in public). Soderbergh was able to leverage the audience's own fears of a virus like the one in the film possibly appearing in real life and utilized it to  make that first half of the film more horrifying than any slasher film Hollywood has put out in a long time.

It was in the last half of the film when Contagion seemed to loose steam as the plots and sub-plots wore the narrative too thin, pulling the audience in too many different directions. There was no way that the suspense and terror so readily available in the first part of the film could have been sustained for the entire running time but it almost felt like, after a certain point, Soderbergh and screenwriter Scott Z. Burns decided to stop pressing on driving the important parts of the story such as the cure being administered to the survivors as well as the how and whys as to the origin of the virus (the origin was explained/shown but almost as an afterthought near the conclusion of the film) and tried to tie up all of the uninteresting/unimportant threads of the story.

For a good hour or so Contagion gave one an all too realistic look at the world should it ever face a viral epidemic, it's just a shame it could not provide a worthy conclusion to that terrifying start.

Grade: C+