Yet the 3-D animation is so stylish and, from time to time, so downright beautiful, that you hardly notice when the storytelling loses track of itself. The script-by Ken Daurio and Cinco Paul-is erratic, to put it generously. Watch a clip from the film "Despicable Me 2." Gru (Steve Carell) is recruited by the Anti-Villain League to help deal with a powerful new super criminal. If anything binds these events to one another, it's the filmmakers' almost palpable sense of desperation. Who lived and sometimes nearly died by the laws of physics. Tonto appears out of nowhere on a towering ladder, which serves as a crane over the train tracks in a slapdash approximation of an action sequence by Another train crashes it's like the subway car in "Speed," but out on the plains. Good guys on horseback chase bad guys through the cars of a passenger train, or gallop after them on the cars' rooftops. Why, for example, is the horse up a tree? Why not is the answer, because this brief bit is no more arbitrary or absurd than some of the most elaborate effects, which respect neither dramatic nor physical logic. Yet the wobbly narrative scheme leaves you wondering from minute to minute who Tonto is supposed to be-gadfly? satirist? poet? crackpot philosopher? tragic victim? superhero?-and the changes in his character reflect the random nature of the production as a whole. "Something very wrong with that horse," the Indian says. In one instance, featured in a trailer, Tonto spies the still-to-be-named Silver, wearing his master's white hat and whinnying from a precarious perch on the branch of a tree. Depp's minimalist humor works, it works extremely well. In doing so, the once-faithful Indian companion isn't just an unreliable narrator but a slyly ironic, pseudo-shamanic presence who, feeding nuts and seeds to his dead bird, may well be out of his gourd. This time it's Tonto who recounts the evolution of an earnest attorney named John Reid into a masked fighter for frontier justice.
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That takes a revisionist tack in exploring the origins of the Lone Ranger, who first entered the popular culture via a network-radio series that ran from the early 1930s through the mid-1950s and spawned a TV series. The film was directed by Gore Verbinski, of "Pirates of the Caribbean" fame and vast fortune. Worse still, the same device is used to interrupt the narrative at several subsequent points, as if to guard against our emotional involvement, though that's never an imminent danger, thanks to the bizarre disconnections of the main action. The story starts with a framing device that must have been inspired by "Little Big Man" (Dustin Hoffman's 121-year-old hero recounting his story) except that this version is disastrously foolish and inept. Yet it's quick to go off the rails, and we're not talking about the literal train wrecks that could serve as its emblem. With a running time of 149 minutes, "The Lone Ranger" is so exhausting as to seem interminable. And all of it falls apart, since this Tonto, who can be delightfully droll, in the spirit of Jack Sparrow, is more often merely odd, in the spirit of his feathered hairpiece. Depp, a white man playing a mythic Comanche behind his own mask of aboriginal makeup. The most astonishing thing about this hugely expensive, famously troubled and notably violent production-shame on Disney for peddling such bloody stuff under the banner of a PG-13 rating-is that all of it truly does depend on Mr. Watch a clip from the film "The Lone Ranger." Native American warrior Tonto (Johnny Depp) recounts the untold tales that transformed John Reid (Armie Hammer), a man of the law, into a legend of justice. ), a poster woman for bungled parenthood who's over the top and almost around the bend.
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Plus a next-door neighbor, Betty (sensationally funny work by And the boy's isolation is only deepened by the company these supposed grown-ups keep: a wealthy, boozy couple played by Carell, treats Duncan with a brisk bonhomie that can turn in a flash to withering scorn. Collette, affecting as always), is nervously focused on her new boyfriend, Trent, who, portrayed chillingly by Mr. (They shared an Oscar withįor the screen adaptation of "The Descendants.")ĭoesn't reveal much of himself at first-doesn't talk much, doesn't smile, doesn't swing his arms when he walks-and no wonder. It's their debut feature, even though both men have extensive experience as improv comics-that may help explain the production's sizzling pace-as well as actors, and as writing partners in features and television. "The Way, Way Back," with an extraordinary cast headed by
Breakfast Briefings: Talking With the Cast From 'The Way, Way Back'
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