'Pirates of the Caribbean: Dead Men Tell No Tales' sails well-charted waters

Since Hollywood cherishes a nostalgic reboot, it's nothing unexpected that the "Privateers of the Caribbean" establishment is setting sail at the end of the day, six years after 2011's "On Stranger Tides." For this film, subtitled "Dead Men Tell No Tales," Disney has employed a lesser-known filmmaking team to vivify the arrangement — a couple of Norwegian movie producers, Joachim Rønning and Espen Sandberg, who helmed the 2012 maritime enterprise film "Kon-Tiki." 

What they've conveyed is a "Privateers" motion picture that loyally takes after the equation, endeavoring to imitate what made these movies engaging in any case. Blend one staggering, slurring, Johnny Depp (substantial on the eyeliner) with one hardheaded youthful young lady in a cleavage-exposing bodice and one respectable, great looking upstart. Overlay in a waterlogged extraordinary lowlife, then erratically sprinkle a challenging heist, an execution escape, and a few nautical fights. Complete with a remarkably shocking resolution. 

The overlaid story concerns youthful mariner Henry Turner (Brenton Thwaites), who is resolved to free his dad, Will (Orlando Bloom), from a watery reviled presence. Henry trusts the famous Jack Sparrow (Depp) will help him discover the Trident of Poseidon to break the revile. It's a ponder anybody supposes Sparrow can do anything in his rum-saturated state, yet Turner connects up with the soaked old privateer and a young lady detained for witchcraft (read: science), Carina (Kaya Scodelario), who cases to have the Map No Man Can Read, a journal of galactic directions that she accepts will lead them to the trident. 

They simply need to escape Captain Salazar (Javier Bardem), a Spaniard bound to a spooky presence by Sparrow. He's been working out his dissatisfactions ravaging the armada of Captain Barbosa (Geoffrey Rush), working his approach to Sparrow. Carina drives this entire unit with her guide to the stars. Notwithstanding taking after her, nobody really trusts that she hear what she's saying. It's disappointing, additionally satisfying when she is, in the long run, ready to substantiate herself right — at last, this is a film about men not trusting ladies when they talk. 

As beguiling bozo Jack Sparrow, Depp has dependably possessed the capacity to push the limits amongst saint and maiden in trouble, yet one can't resist the urge to surmise that his execution here works simply because of the basis laid in earlier "Privateers" pictures. He basically signals toward the Jack Sparrow takes note of that we've as of now delighted in, past punchlines included. One scene offers a look at Sparrow's starting point story, which could be rich true to life domain, be that as it may rendered with advanced digitally embellishing, the zombie youth-impact is diverting. 

Rønning and Sandberg have a personnel for dry-arrive activity successions, loaded with Buster Keaton-style accomplishments of material science. A bank vault theft references a comparative trick from 2011's "Quick Five." But their sea-bound activity fails to impress anyone. Apparition ships linger out of the night mist, spreading out and assaulting like a monster centipede loaded with half-confronted warriors. The topography and courses of events are obfuscated and confounding; all is lost in a grayish CGI obscure. 

"Dead Men Tell No Tales" proposes that there still might be more "Privateers of The Caribbean" story to find — maybe a prequel — however, there are not single new fortunes in sight in this portion, which is dragged around the stay of an endorsed establishment diagram. 

Katie Walsh is a Tribune News Service film commentator.