|2013||149 Min||Action . Adventure . Western|
The Texas Rangers chase down a gang of outlaws led by Butch Cavendish, but the gang ambushes the Rangers, seemingly killing them all. One survivor is found, however, by an American Indian named Tonto, who nurses him back to health. The Ranger, donning a mask and riding a white stallion named Silver, teams up with Tonto to bring the unscrupulous gang and others of that ilk to justice.
|Actors:||Mason Cook , James Frain , Barry Pepper , Helena Bonham Carter , Ruth Wilson , Tom Wilkinson , James Badge Dale , William Fichtner , Armie Hammer , Johnny Depp|
For all its miscalculations, this is a personal picture, violent and sweet, clever and goofy. It's as obsessive and overbearing as Steven Spielberg's "1941" — and, I'll bet, as likely to be re-evaluated twenty years from now, and described as "misunderstood."
Talk about a pleasant surprise! Real storytelling, well thought-out and beautifully, at times insanely, executed, with excitement, laughs and fun to make you feel seven years old again.
A wild, wacky, wide-screen reimagining of the vintage radio serial and TV series, the film - with Armie Hammer in the hat and mask, galloping across Texas righting wrongs, and Depp as his trusty Indian sidekick, Tonto - is an epic good time.
If anything, it’s overstuffed with imagination and ideas, and when it comes to Hollywood movies I very much prefer that to the default setting. See it with an open mind, and you may well be surprised.
Hammer’s performance — always game, never mugging — certainly helps; his likable but buffoonish Lone Ranger is an essential part of the movie’s irreverent tone.
Though the story is mostly faithful to the established origin of the character, it's not until the last 15 minutes, when "The William Tell Overture" arrives in its full glory, that this starts to feel a little like The Lone Ranger. But that's too little, too late. And when The Ranger (played here by Armie Hammer) finally shouts "Hi-yo Silver," the moment is spoiled by turning it into a joke.
The Lone Ranger is a grand folly that, in a sane world at least, would never have been made, although I’m really rather glad someone did.
It tickles both funnybones and eyeballs.
The action climax just goes on and on, making The Lone Ranger the sort of movie that delivers too much too late and still manages to make it feel like too little.
Depp is the only reason this haphazard take on the Lone Ranger legend exists, at least in this swollen state, begging the question of why Disney didn't name the movie Tonto.
The fact that Johnny Depp alone gets top billing above the title, The Lone Ranger, despite not playing said character sums up the generally misguided approach taken by Depp and the creative crew behind the “Pirates of the Caribbean” franchise in bringing last century’s radio and TV hero back to the big screen in a big way.
Eccentric and misguided enough to be almost perversely fascinating, the film doesn’t lack nerve; it’s just not very good.
There’s a rollicking Wild West adventure buried deep inside The Lone Ranger, a bloated, mega-budget revival of the story of the iconic gunslinger and his Native American sidekick Tonto.
Except for the dynamite finale, The Long Ranger feels like a long, slow ride to the dump, to the dump, to the dump, dump, dump.
Gore Verbinski’s film is an overlong array of noisy, digitally-assisted chases, shootouts, crashes and explosions with the occasional flash of homage to the “real” Lone Ranger that suggests a better movie than the pricey, jumbled compromise Verbinski delivered.
It's a 2 1/2-hour slog, with tonal inconsistencies and monotonous, drawn-out action sequences. Scenes alternate between frenetic and tedious.
A moderately amusing but very uneven revisionist adventure with franchise and theme park intentions written all over it...This attempt by Verbinski and producer Jerry Bruckheimer to plant the flag for another Pirates of the Caribbean-scaled series tries to have it too many ways tonally, resulting in a work that wobbles and thrashes all over the place as it attempts to find the right groove.
There's a couple of hundred million dollars' worth of technical wizardry up there on screen, and nothing is at stake. Except, maybe, for some future amusement park ride, and the sequels, and toys and hats and masks. And piles and piles of silver, if enough people lay down their hard-earned dollars to hear Hammer's hearty "Hi-yo."
Hammer plays the Lone Ranger as a clueless, stolid square, and the resulting contrast with Depp’s cartoonishness isn’t odd-couple funny, just blah.
By the time the origin movie stuff is wrapped up and the audience finally gets to see The Lone Ranger and Tonto on their first of their legendary deeds, it's far too late in the movie, particularly if your patience has already been drained by the simple yet over-elaborately staged plot, that struggles to be compelling.
The Lone Ranger is content to simply pull another western trope out of the bag – the honky-tonk whorehouse, the ranch raid, the cavalry charge – give it a CGI spit-and-polish, and chuck it in the general direction of the audience. The result is frustrating, lazy and lifeless.
Ultimately, it’s not as awful as "Wild Wild West." But we’ll hazard a guess that Pirates 5 can’t come quick enough for Bruckheimer or Depp.
The spirits fly in and out of The Lone Ranger at random. It's nice to see them come and go. I just wish they'd stay for longer.
Verbinski orchestrates complex action sequences, including two spectacular bits of derring-do on a moving train, with a precision few in Hollywood are capable of pulling off. Yet The Lone Ranger, like his last two Pirates movies, seems conceived to deliver spectacle by the bulk, which means carrying the baggage of multiple subplots for the purpose of multiple climactic sequences.
It’s impossible to know how much of Tonto’s story is tall tale or historical fact. The tactic undercuts the film’s attempt at revisionism or at best equalizes men of all races as untrustworthy tellers of of their own history. The Lone Ranger stokes the legend but its smoke signals only add to the haze.
It’s got too much on its mind, and it’s unsure of its tone. This is the rough cut of a slimmer, better movie
A very long, very busy movie that will unite the generations in bafflement, stupefaction and occasional delight.
The Lone Ranger is a frustrating exercise in overkill, a kind-of, sort-of interesting idea buried in summer-movie excess.
The Lone Ranger has it all, but what you end up with is not much. It's an extravagantly squandered opportunity.
It's all too much and not enough—a succession of disparate, can-you-top-this episodes inelegantly piling up like skidding cars on a freeway. And that's not even taking into account the action scenes. Lord, those action scenes: Monotonous, loud and relentless, they're a punishing example of the self-satisfied, digitally augmented ephemera that typifies modern Hollywood moviemaking, and House Bruckheimer in particular.
Extravagant but exhausting...this over-the-top oater delivers all the energy and spectacle audiences have come to expect from a Jerry Bruckheimer production, but sucks out the fun in the process,
This is slick trash. A bloated, unfunny, sometimes downright bizarre train wreck featuring some of the loudest, longest and least entertaining actual train wrecks in recent memory.
The greater embarrassment is that so many millions of dollars have been wasted on an entertainment that feels so smug, so pointless, and so thunderously empty.
The movie, of course, barrels toward climax upon climax, and while possibly better photographed, the crashes, bangs, and booms are no less numbing than anything else you've seen in this summer of garbage blockbusters.
What do you get? A reboot of "The Lone Ranger” that metaphorically drags this noble story – and literally drags its title character – through a steaming heap of horse droppings.
Johnny Depp's Tonto wears a dead crow on his head in The Lone Ranger. The star himself carries a dead movie on his shoulders.
The Lone Ranger exists without a convincing sense of jeopardy or, more critically, any place for audiences to emotionally connect.
Here they're just putting "Pirates of the Caribbean" in a saddle and pretending we won't notice.
The ferociously misguided new rendition of The Lone Ranger has no legitimate reason to exist.
This mishmash of styles, genres and tonal shifts makes for a dizzying pastiche best described in terms of the many movies it references throughout its nearly 2 1/2-hour running time, from “Little Big Man,” Buster Keaton’s “The General” and the Monument Valley-set canon of John Ford to “Dead Man,” “Rango” and “Pirates of the Caribbean.”
In scenes such as hundreds of Natives being slaughtered by U.S. troops behind Gatling guns, we have Tonto and the Lone Ranger acting like a couple of comic-relief ninnies, screwing around aimlessly for laughs on a handcar. It's as if the movie were having a nervous breakdown. At one point the masked man gets his head dragged through horse manure. Watching The Lone Ranger, you know the feeling.
The sad truth is these durable 80-year-old characters, who peaked with a 1950s TV series, never even come to life in this bloated, misshapen mess, a stillborn franchise loaded with metaphors for its feeble attempts to amuse, excite and entertain.
Appalling in ways that you could never have anticipated. The movie mixes mismatched-buddy high jinks with scenes of carnage.
This smart-looking but empty adventure — with a hero that looks more Tom Ford than John Ford — suffers from a shambling script, shifting tones and a surplus of villains. Clunky and drawn out, “Ranger” shoots blanks, even with the star power of Johnny Depp behind it.
It represents 2 1/2 of the longest hours on record, a jumbled botch that is so confused in its purpose and so charmless in its effect that it must be seen to be believed, but better yet, no. Don't see it, don't believe it, not unless a case of restless leg syndrome sounds like a fun time at the movies.
1. Blaydon Races ( Writer: )
2. Tumbling Tumbleweeds ( Performer: Gene Autry )
3. William Tell Overture: Finale ( Writer: )
4. After The Battle of Aughrim ( Writer: )
5. Hanson Place (Shall We Gather At The River) ( Writer: )
6. I'm Leaving You ( Performer: Written and Bobby Johnston )
7. Mean-Ass Cattle ( Performer: Written and Brian Satterwhite )
8. Traffic Circle ( Performer: Written and Brian Satterwhite )
9. Celeste Aida ( Performer: Enrico Caruso )
10. The Glendy Burk ( Performer: Arranged and Dave Bourne )
11. Battle Hymn of the Republic ( Writer: )
12. Red's Theater Of The Absurd ( Performer: Pokey LaFarge and the South City Three )
13. Beautiful Dreamer ( Performer: Pokey LaFarge and the South City Three )
14. The Girl In The Flying Trapeze ( Performer: Pokey LaFarge and the South City Three )
15. Dixie ( Writer: )
16. Contest ( Performer: Johnny Depp and Comanche Nation )
17. Stars and Stripes Forever ( Writer: )
18. Marse Henry March ( Writer: )
19. The Star Spangled Banner ( Writer: )
20. William Tell Overture ( Writer: )
21. Swan Lake Op.20 Suite 1 (Swan Theme) ( Writer: )
22. Bugle Charge ( Writer: )