The Lone Ranger Reviews
Johnny Depp's character, Tonto, had the most potential, until that familiar Hollywood template became too obvious.
I still recommend it, though.
Marvelous Acting , Superb as always , Depp is the King of Hollywood!
I thought it was a fun, action packed, and very interesting (plot wise) movie. Although it was deffinetly WAY too long, i still liked it.
Swapping the smell of salty spray and feel of heaving waves for the grittiness of desert dust and ever expanding arid emptiness, The Lone Ranger is a massively expensive adaption with all the elements of a grand adventure but without the box office or viewer acclaim.
Jarringly jumping between frenetic and tedious, modern (without even being set in today) and traditional, plastic and parody, odd couple and action heroes, comedy and drama, this film simply doesn't know what it wants to be and would have benefited greatly overall from a generous dose of editing.
For those of you who do remember the source material, I would advise not to compare, this is definitely a case of different courses for different horses. Stunts are massive and the vistas are stunning, even if they are noticeable geographically incorrect (location scouts take note - 2010's Utah does not equal 1870's wild-west Texas).
Wandering through a carnival in 1933 chewing on fresh peanuts, a young boy stops in front of a display reading "The Noble Savage". When an old man who should be a statue comes to life, the elderly fellow recounts a 60 year old yarn of unbelievable derring-do.
On train route home to Texas, straight laced Prosecutor John Reid (Armie Hammer) meets off-beat native Tonto (Johnny Depp) when they are shackled together by gun-toting hi-jacker's and left for dead on a runaway locomotive. Surviving the accident only to join a band of Rangers and play into a murderous plot, Reid is once again left of dead but can that actually work in his favour?
With the aid of tonto and his trusty white steed, Reid transforms from a man of the law, into The Lone Ranger, a legend of justice.
The epitome of chisel-jawed decency, Hammer has a likeable air but lacks screen presence, especially in contrast to his centre-kick of a side-kick, Johnny Depp. Like his most bankable character Jack Sparrow, Depp inhabits Tonoto in his usual magically eccentric part fruitcake, part genius and all crazy style.
There is glimmer of chemistry between the leads, but Depp seems to get more in reply from Reid's stunning personality ridden horse that his second-fiddle leading man.
Thankfully, the overtly colourful Helena Bonham Carter's role is rather small and her unique brand of odd is somewhat controlled even as a lethal prosthetic legged House of Sin Madam. Much like the aforementioned, the supports are all caricatures of the much-neglected western genre.
With modern influences guiding the project, there are some glaring tonal inconsistences between light-hearted humour and racially sensitive violence.
Besides being somewhat offensive to certain audiences, it highlights just how for the wrong way film making is on the political correctness scale. Backstory, historical and geographical accuracy be dammed.
The verdict: With all the negatives being said, the hi-ho silver speed of this movie is somewhat endearing and with the infectious anticipation of will they -wont they rendition of Rossini's William Tell Overture and other classic elements right there on the brink, the reluctant charm of this film seeps through into an enjoyable cinematic experience.
Published: The Queanbeyan Age
Date of Publication: 12/07/2013