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1. #THE LONE RANGER MOVIES MOVIE#
2. #THE LONE RANGER MOVIES SERIAL#
3. #THE LONE RANGER MOVIES SERIES#
4. #THE LONE RANGER MOVIES FREE#

Quite a few Native American actors appear in the film as Comanche warriors, who are presented with tragic dignity. Tonto is given a traumatic and complicated back story, an agency and a painful destiny that have never existed before in any “Lone Ranger” iteration, and his isolation from both his own people and the white world makes sense in a new way. But you can’t claim that Depp (one of the movie’s producers) and Verbinski haven’t thought about the problems.

#THE LONE RANGER MOVIES MOVIE#

It remains problematic, to be sure, to see a white movie star (whatever you think about Depp’s purported Cherokee great-grandmother) playing a 19th-century Native American in a crow headdress and black-and-white face paint, delivering broken-English witticisms. Add to that the movie’s most headline-making aspect, the casting of Depp in what amounts to a lead role as perhaps the most iconic and troubling of all “good Indian” characters, a Comanche outcast who for reasons of his own rides alongside a masked white avenger.

#THE LONE RANGER MOVIES SERIAL#

(See also: Nolan, Christopher, and Snyder, Zack.)Īs for “The Lone Ranger,” Verbinski and his credited writers (Justin Haythe of “Snitch” and “Revolutionary Road,” along with the “Pirates” duo of Ted Elliott and Terry Rossio) are trying to do the impossible, or at least the exceptionally difficult: Capture the spirit of an old-timey, square-bear western adventure serial aimed at kids, and also make a dark-hued revisionist western with echoes of “The Searchers,” “Ride the High Country” and “Unforgiven.” While the depredations of the railroad barons serve as a plot point in many films and novels, this story specifically recalls the themes and plot of Frank Norris’ tremendous 1901 California novel “The Octopus” (which may also have helped inspire "There Will Be Blood"). At his best, as in the American remake of “The Ring” or “Rango” or the first “Pirates,” he belongs on the very short list of Hollywood directors who try to apply an auteurist vision of cinema to the most commercial grade of mass-market commodity movies.

#THE LONE RANGER MOVIES FREE#

He’s made some less-than-good pictures, but he’s never made a boring picture, or one that wasn’t constantly trying to wriggle free of its genre conventions and push in unexpected directions. Except, you know what? If Verbinski makes those movies, I’ll go see them eagerly.

He stayed with the “Pirates of the Caribbean” franchise at least one movie too long – possibly because he was paid kajillions of dollars – and no doubt should create more distance between himself and the empire of producer Jerry Bruckheimer before he ends up directing “Prince of Persia 2: More Sands of Time” or the proposed “Top Gun” sequel.

Let’s back up for a second and consider Verbinski, a director who gets short shrift from critics for reasons that are understandable but maybe unfair. See it with an open mind, and you may well be surprised. 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. Still, I halfway believe that the discordant qualities of “The Lone Ranger” are intentional – and I know for sure that it’s an ambitious and inventive film that’s always trying to tweak formula and play with audience expectations. Conventional wisdom has already decreed that this movie is a flop, and so be it – don’t let me stand in the way of some satisfying groupthink.

Verbinski veers back and forth between hard-hitting, often violent dramatic episodes and the low-key, farcical relationship between his two leads, and the effect can be disorienting.

I can already tell I’m going to be a lonely voice on this one, so let me be clear: “The Lone Ranger” has significant problems, including the pairing of Johnny Depp and Armie Hammer as Tonto and the Lone Ranger, which never pays off the way it’s presumably meant to.

#THE LONE RANGER MOVIES SERIES#

But it also never lets you forget that the Manifest Destiny that drove Anglo-American society across our continent was a thin veneer pasted across a series of genocidal crimes. It delivers, for my money, the most exciting action sequence in any of this summer’s big spectacles (even counting the destruction of Tony Stark’s Malibu mansion in “Iron Man 3”), a delirious chase-and-fight number staged on board a moving train – set, of course, to the William Tell Overture – that’s equal parts stunt work, digital effects and cinematic derring-do. Actually, let me take that back, or at least rephrase it: This mordant and ambitious work of pop-political craftsmanship both is and is not that movie. If you’re looking for an old-fashioned, rip-roaring western adventure, with dashing heroes, dastardly villains and beautiful girls, where you know who the good guys and bad guys are and you’re not troubled by historical guilt or contradiction – well, Gore Verbinski’s re-engineering of “The Lone Ranger” is not that movie.