Pirates of the Caribbean: On Stranger Tides (2011)

The critic finds Johnny Depp back in excellent form as Captain Jack Sparrow in this lively new installment directed by Rob Marshall. It takes a more serious tone but benefits from Penelope Cruz's addition and Marshall's flair for action and sexual tension.

The film revives the fun, feather-light frivolity of the franchise as a welcome corrective after the ponderous prior entries. The critic praises the earnest appropriations of cliches, strong action choreography and Depp's performance while noting a lack of suspense.

The review notes that the story now rests awkwardly on Depp's Sparrow alone after the departure of prior leads and director, resulting in a streamlined but lightweight film. It is better than bloated predecessors for some viewers but depends heavily on tolerance for the central character's antics.

The film is the least strange and most tedious entry in the series under new director Rob Marshall, with little of the prior exuberance. The critic praises the performances of Depp, Rush and McShane and the mermaid sequence while noting the overall mediocrity.

The critic finds the fourth installment too much of the same, long and bombastic with little excitement in the action sequences. He singles out the fun opening in London and the dropping of extraneous characters for mild praise.

The review finds that a new director and cast changes do little to improve the oversized fourth instalment in a decreasingly entertaining franchise. It notes some bright spots, particularly Geoffrey Rush’s performance as Barbossa.

The critic finds that this fourth instalment only slightly halts the franchise's steady decline after two laboured sequels. A poorly scripted film with forked-tongue cheekiness features the usual cast plus newcomers in a search for the Fountain of Youth that lacks coherent narrative.

The critic calls the film a dim-witted bore whose nonstop clatter and frenetic activity render it uniformly dull rather than thrilling. Marshall's approach to action and 3D is uninspired, with convoluted plotting and weak humor failing to deliver anything strange or extraordinary.

The critic finds this a further decline for the franchise that cannot recapture the magic of the first film or match the drive of its predecessors. An overly complicated plot and poorly thought-out characters detract from flashes of charm and quality set-pieces.

The critic says the Pirates franchise is turning into a ride we all just want to get off, with Depp's Sparrow shtick now very old and the film full of filler. A languid mermaids sequence that turns into a Jaws homage is singled out as effective, along with the fight scenes.

The critic argues that Johnny Depp has worn out his welcome and the movie itself appears bored by him, resulting in ho-hum tedium as the franchise continues its slide into shambolic territory.

The critic calls the film a lifeless, reductive moneymaking exercise with tired gags, phoned-in performances and no tension or motivation for its characters. It is seen as a step down even from the previous entry due to its lack of imagination and charm.

The critic finds it a genuinely entertaining outing that generates novelty and surprise while preserving the series' best features. They single out the strong supporting performances (including Ian McShane and Penelope Cruz) and the script's efficiency in avoiding previous muddles for praise.

The critic finds it not great or even good, but enjoyable enough due to its pace, 3D effects, supporting cast, and Johnny Depp's performance, despite convoluted plotting and other flaws. Praises the fun swashbuckling and Depp's charm.

Depp still makes it work with his performance amid a fraying plot; new elements like Cruz and McShane add some interest but the film feels too long with weak subplots and logic issues. It's a shade darker but relies on razzle dazzle.

The critic finds the film suffers from sequelitis, driven by economics rather than art, with repetitive action and an empty focus on Jack Sparrow. The mermaid attack sequence stands out as the one effective jolt of energy.

The critic calls the film a major disappointment that misunderstands story, pacing, action, its history, and characters, resulting in a tedious, soulless mess with lazy writing and poor characterization. It singles out the constrained London-set first act and overall failure to deliver on the franchise's scale and creativity as key flaws.