![]() ![]() This is partly due to the fact that in some scenes you’re straining to hear what people are saying because Zimmer’s busy score is so high in the mix. And as for the main plot, the exposition is forever muffled. Why, for example, bother writing Crook and Arenberg back into the story? Couldn’t writers Ted Elliot and Terry Rossio have found a fresh source of buffoonery? Norrington, meanwhile, is given a whole diversion-creating sub-story that is wholly unnecessary. Sure, such a dazed swagger is neatly consistent with its lead character’s now trademark, drunken-sailor gait, but a more direct route would have been far, far better. It’s rather that the plot contortions required to get them – along with Jack Davenport’s Norrington and Mackenzie Crook and Lee Arenberg’s comic-relief cut-throats – in the same frame leaves Dead Man’s Chest convoluted and stumbling, zigzagging its way forward over a too-long runtime. ![]() It’s not so much that putting Johnny, Keira and Orlando back together is inherently a mistake. But here’s a possibly controversial, certainly upsetting, proposition: Pirates 2, aka Dead Man’s Chest, would have benefited by jettisoning much of the original cast, and following Captain Jack into different waters. From The Empire Strikes Back through to X-Men 2, the reinvigoration of winning team dynamics has ensured follow-ups that, at the very least, match their predecessors. Everybody loves it when a sequel reunites the original cast.
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