Director Gore Verbinski and actor Johnny Depp may have hit the bull’s eye with the three Pirates of the Caribbean films and the animated Rango, but The Lone Ranger completely misses the mark.
In this revisionist film, Verbinski tells the tale of how the Comanche warrior with a tortured past, Tonto (Johnny Depp), and straight-laced Texas lawyer John Reid (Armie Hammer) came to meet and the adventure they share in their pursuit of justice. The two do not exactly see eye-to-eye upon their first encounter. But when Reid is left for dead after he and his fellow Texas Rangers are ambushed by the outlaw Butch Cavendish (William Fichtner) and his gang, Tonto nurses the ailing lawman back to health and gives him his signature black mask to complete his vigilante makeover.
From here, the pair face-off time and time again against Cavendish, corporate tycoons driven by greed, and on many occasions, each other. This back-and-forth goes on for way too long (the film clocks in at 2 hours and 29 minutes), dragging the film down and making it all feel like a colossal bore. There were about five different incidents during the film where I said to myself: "I can’t believe it’s still going." It definitely would have benefited the film if it were an hour shorter.
I kept hoping that Depp would step up and serve as the film’s saving grace, but sadly that did not happen. His charm and ability to breathe the right amount of eccentricity into his characters continues with his portrayal of Tonto. Some of the silliest moments in the film come during his conversations with the spirit horse, and his attempts to feed the deceased crow that reigns from atop his head. With that said, I couldn’t help but feel like I was watching a less-flamboyant version of Jack Sparrow, minus the dreadlocks and pirate get-up, out in the Wild West.
Hammer was likeable enough, though his performance came off as very bland at times and then campy at others. Verbinski’s uncertainty as to how to frame the film as a whole might be partly to blame for that.
Helena Bonham Carter makes a brief appearance that adds little to the film. Though she does show off a fake ivory leg that conceals a hidden pistol, which should be good for a few points from gun enthusiasts.
Tonally, the film seemed to be all over the place. You could almost label it a parody for the way it satirized the source material. Yet there were some dramatic moments that added some tension to the film, as well as sociopolitical commentary on corruption and greed. It seemed Verbinski wanted to address a few too many issues at once.
I do think the film succeeded visually. The shooting locations chosen were visually striking and added great scenic value to much of the film. And there is something to be said for its authenticity. Real trains were built, as opposed to CGI locomotives, for some of the film’s best action sequences. About six miles worth of railroad track were actually laid as well.
In all, there are a few enjoyable moments to be had in The Lone Ranger. It’s clear that Verbinski was looking to recreate the magic and commercial success of the Pirates of the Caribbean franchise, but this film simply does not meet the challenge. This is one film I hope the spirit horse leaves dead and gone once its time has come.
--Derrick Mitcham
In this revisionist film, Verbinski tells the tale of how the Comanche warrior with a tortured past, Tonto (Johnny Depp), and straight-laced Texas lawyer John Reid (Armie Hammer) came to meet and the adventure they share in their pursuit of justice. The two do not exactly see eye-to-eye upon their first encounter. But when Reid is left for dead after he and his fellow Texas Rangers are ambushed by the outlaw Butch Cavendish (William Fichtner) and his gang, Tonto nurses the ailing lawman back to health and gives him his signature black mask to complete his vigilante makeover.
From here, the pair face-off time and time again against Cavendish, corporate tycoons driven by greed, and on many occasions, each other. This back-and-forth goes on for way too long (the film clocks in at 2 hours and 29 minutes), dragging the film down and making it all feel like a colossal bore. There were about five different incidents during the film where I said to myself: "I can’t believe it’s still going." It definitely would have benefited the film if it were an hour shorter.
I kept hoping that Depp would step up and serve as the film’s saving grace, but sadly that did not happen. His charm and ability to breathe the right amount of eccentricity into his characters continues with his portrayal of Tonto. Some of the silliest moments in the film come during his conversations with the spirit horse, and his attempts to feed the deceased crow that reigns from atop his head. With that said, I couldn’t help but feel like I was watching a less-flamboyant version of Jack Sparrow, minus the dreadlocks and pirate get-up, out in the Wild West.
Hammer was likeable enough, though his performance came off as very bland at times and then campy at others. Verbinski’s uncertainty as to how to frame the film as a whole might be partly to blame for that.
Helena Bonham Carter makes a brief appearance that adds little to the film. Though she does show off a fake ivory leg that conceals a hidden pistol, which should be good for a few points from gun enthusiasts.
Tonally, the film seemed to be all over the place. You could almost label it a parody for the way it satirized the source material. Yet there were some dramatic moments that added some tension to the film, as well as sociopolitical commentary on corruption and greed. It seemed Verbinski wanted to address a few too many issues at once.
I do think the film succeeded visually. The shooting locations chosen were visually striking and added great scenic value to much of the film. And there is something to be said for its authenticity. Real trains were built, as opposed to CGI locomotives, for some of the film’s best action sequences. About six miles worth of railroad track were actually laid as well.
In all, there are a few enjoyable moments to be had in The Lone Ranger. It’s clear that Verbinski was looking to recreate the magic and commercial success of the Pirates of the Caribbean franchise, but this film simply does not meet the challenge. This is one film I hope the spirit horse leaves dead and gone once its time has come.
--Derrick Mitcham
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