The very end of "Pirates of the Caribbean: Dead Man's Chest" was more like the end of a play's first act, after which the audience had to endure a nine month intermission. The second act--"Pirates of the Caribbean: At World's End"--begins practically where the last film left off, in which Captain Barbossa (Geoffrey Rush) made an unexpected return after Jack Sparrow (Johnny Depp) was swallowed by the kraken. Not surprisingly, such a surprise ending got me all revved up for yet another round of swashbuckling fun, and I spent the year on pins and needles. If only this new film lived up to my expectations: while it is very entertaining, and while it is still worth recommending for sheer escapism, I'd be lying if I said that it matches the quality of the first two films.
Part of the problem is that everything about this film is simply too big. The number of new characters alone is quite distracting, especially since they all make important contributions to the story. The subplots are piled on top of each other, resulting in a film that's needlessly complicated and overly energized. I'd be hard pressed to give a decent synopsis, because in all honestly, I'm not sure I caught on to everything. From what I can gather, it seems that the instigator of this new story is Tia Dalma (Naomi Harris), the mysterious voodoo woman responsible for Barbossa's resurrection (which, in my opinion, was explained far too casually). Apparently, he's one of the nine pirate lords, and the time has come for them to join forces against the elusive (but undeniably evil) East India Trading Company, now under the control of the dastardly Lord Cutler Beckett (Tom Hollander).
But one of the lords--our beloved Captain Sparrow--remains lost, body and soul, in Davy Jones' Locker, meaning that Barbossa and regulars Elizabeth Swann (Keira Knightly) and Will Turner (Orlando Bloom) have to sail to the ends of the earth to find him. I mean this literally; they eventually spill over a waterfall that would put Niagara Falls to shame. But it seems this is the only way to reach the Locker, which is like a pirate's version of purgatory. We actually get to see this otherworldly realm during one of the film's most baffling scenes; Sparrow is in a surrealistic desert landscape, commanding the Black Pearl crewed by hallucinogenic clones of himself. This scene was constructed with an unwelcome mixture of comedy and pure weirdness, and I simply didn't understand the purpose of it. Was there really no other way to represent purgatory?
By the time Barbossa and the others come to the rescue, Witty Jack has become Funny Jack, which completely works against his character as established in the first film. He was introduced as a flamboyant conniver, undeniably charming and full of biting wit. However, despite a well-developed sense of humor, he was never reduced to pure comedy relief. I can't say the same in terms of "At World's End"; Jack Sparrow has become the main source of the film's humor, ready with slews of one-liners, a seemingly incurable urge to argue, and snappy retorts. I distinctly remember an unnecessary moment with his Good/Bad conscience, classically represented by miniature clones atop his shoulders. Why I remember this, I don't know; it added absolutely nothing to the story, save for a couple of humorous lines.
And then there are the hordes of subplots, all of which prove that every character has at least three hidden agendas. For one thing, the relationship between Will and Elizabeth is suffering: Elizabeth is forced to come clean about her role in Jack's demise; Will is still obsessed with rescuing his father (Stellan Skarsgard) from an eternity of servitude on the Flying Dutchman. Jack and Will fight for the severed, still-beating heart of Davy Jones (Bill Nighy) because, in one way or another, they'll both benefit from it being stabbed. Davy Jones, now under the control of Beckett, is both frightened and excited at the prospect of reuniting with Calypso, the sea goddess who broke his heart (literally) before taking on human form (whose form, I dare not say). Captain Sao Feng (Chow Yun-Fat)--one of the nine pirate lords--takes special interest in both Jack and Elizabeth. Tia Dalma's significance increases dramatically, albeit not in a way that's easily understood; by the time her true nature is revealed, one can't help but wonder what the point was.
Ultimately, it becomes an exhausting process of trying to figure out who's doing what to whom and why. Jack alone changes allegiances more times than I can remember, and each time, he proposes yet another intricate plan that everyone knows is only for his benefit. But that's too limiting; overall, "Pirates of the Caribbean: At World's End" is an overstuffed film, sure to disappoint--but not entirely let down--both new audiences and diehard fans of the first two films. Still, I'm giving it four stars because it delivers in some very key areas: the special effects are incredible; the basic story between Jack, Will, and Elizabeth is engaging; the action scenes are plentiful and frenetic; Hans Zimmer's score is robust and energetic. And yes, we even get what we've been promised from the very beginning: a special appearance by Keith Richards.