Johnny Depp characterising critics as all-powerful movie slayers is pure delusion

With newspapers laying off arts writers, the suggestion The Lone Ranger has been ruined by dishonest reviewers seems paradoxical. Perhaps there are other reasons behind the blockbuster's US flop?

Actors Johnny Depp and Armie Hammer and producer Jerry Bruckheimer complained publicly this week that a slew of poor (and, they allege, dishonest) reviews killed their new movie The Lone Ranger on its US release in July. As many commentators were quick to point out on Twitter, this is poppycock. “I blame the studio that couldn’t help the filmmakers locate the fun, less-convoluted 100-minute film that's struggling to get out,” said Charles Gant, film editor of Heat magazine and the Guardian’s box-office analyst. Jonathan Dean of the Sunday Times observed correctly: “It’s one of [Depp’s] poorer arguments. Critics hated the last THREE Pirates movies and they did so well they’re making another.”

I enjoyed parts of The Lone Ranger, directed by Gore Verbinski (who made the first three Pirates of the Caribbean instalments), but it’s not a massively audience-friendly film. At nearly two-and-a-half hours, with an uncertain tone that veers wildly between slapstick, action-adventure and the outright macabre, it is less like a summer tentpole release than a vaudeville show or a student revue (albeit one on a budget so large that Disney had to step in to halt production and prune the costs). It is absolutely the filmmakers’ right to make the movie they wanted to make, and if the studio is willing to trust them on their judgements, however eccentric, then they are luckier than most in the current straitened climate.

But to then whinge at critics because that big-budget gamble didn’t pay off is somewhat undignified. Hammer even suggested that US critics only came after The Lone Ranger because their attempts to savage another beleaguered production—World War Z, which also suffered off-screen setbacks—were frustrated when that movie went on to become a moderate hit. “This is the deal with American critics: they’ve been gunning for our movie since it was shut down the first time,” the actor said. “That’s when most of the critics wrote their initial reviews… They tried to do the same thing with World War Z. It didn’t work, the movie was successful. Instead they decided to slit the jugular of our movie.”

This idea of critics as serial killers prowling the multiplexes with the smell of blood in their nostrils is simultaneously quaintly amusing and entirely whacko. It bears no relation to reality. A tiny release playing on a handful of screens can be buried by a bad review from an influential writer, or lifted out of obscurity for a few days by a positive one. But a blockbuster rarely dies unless there are extenuating circumstances: if the audience wasn’t put off by the pre-release whiff of perceived trouble on The Lone Ranger, perhaps the picture fell foul of the curse of the western, an especially difficult genre to market to modern audiences. So far the film has taken $175m on a $215m budget—bad news indeed. It’s too early to say what its total gross will be but from the outside it resembles the Will Smith flop Wild Wild West all over again (old TV show adaptation lacking any modern-day currency of familiarity; major box-office star; western theme). That took $222m on a $170m budget, another poor result.

Contrary to what Depp and his compadres believe, the critical fraternity is in a more vulnerable position than ever. In the past few years, the Village Voice disgraced itself by sacking some of the finest film writers in the US—including J. Hoberman and Dennis Lim—while here in the UK the latest cull was at the Independent on Sunday, which has exhibited the grossest philistinism in cutting loose its entire team of arts critics from September. I haven’t read the Village Voice since Hoberman was pushed, and I can’t think of a reason to buy a national newspaper like the IoS when it places such paltry value on brilliant and informed critical writing. But the situation is hardly helped by wealthy and powerful Hollywood titans suggesting that any bad reviews must be motivated by spite, collusion or conspiracy. The same critics, presumably, who gave rave reviews to earlier Verbinski comedies like the hugely inventive Mousehunt and Rango, or who praised Depp’s idiosyncratic turns in the Pirates movies. Or were those different, cuddlier critics?

The Lone Ranger is released on Friday.

Johnny Depp and Armie Hammer in The Lone Ranger.

Ryan Gilbey is the New Statesman's film critic. He is also the author of It Don't Worry Me (Faber), about 1970s US cinema, and a study of Groundhog Day in the "Modern Classics" series (BFI Publishing). He was named reviewer of the year in the 2007 Press Gazette awards.

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Out with the old: how new species are evolving faster than ever

A future geologist will look back to the present day as a time of diversification, as well as extinction.

Human population growth, increased consumption, hunting, habitat destruction, pollution, invasive species and now climate change are turning the biological world on its head. The consequence is that species are becoming extinct, perhaps faster than at any time since the dinosaurs died out 66 million years ago. This is an inconvenient truth.

But there are also convenient truths. Britain has gained about 2,000 new species over the past two millennia, because our predecessors converted forests into managed woodlands, orchards, meadows, wheat fields, roadsides, hedgerows, ponds and ditches, as well as gardens and urban sprawl, each providing new opportunities.

Then we started to transport species deliberately. We have the Romans to thank for brown hares and the Normans for rabbits. In the 20th century, ring-necked parakeets escaped from captivity and now adorn London’s parks and gardens.

Climate warming is bringing yet more new species to our shores, including little egrets and tree bumblebees, both of which have colonised Britain in recent years and then spread so far north that I can see them at home in Yorkshire. Convenient truth No 1 is that more species have arrived than have died out: most American states, most islands in the Pacific and most countries in Europe, including Britain, support more species today than they did centuries ago.

Evolution has also gone into overdrive. Just as some species are thriving on a human-dominated planet, the same is true of genes. Some genes are surviving better than others. Brown argus butterflies in my meadow have evolved a change in diet (their caterpillars now eat dove’s-foot cranesbill plants, which are common in human-disturbed landscapes), enabling them to take advantage of a warming climate and spread northwards.

Evolution is a second convenient truth. Many species are surviving better than we might have expected because they are becoming adapted to the human-altered world – although this is not such good news when diseases evolve immunity to medicines or crop pests become resistant to insecticides.

A third convenient truth is that new species are coming into existence. The hybrid Italian sparrow was born one spring day when a male Spanish sparrow (the “original” Mediterranean species) hitched up with a female house sparrow (which had spread from Asia into newly created farmland). The descendants of this happy union live on, purloining dropped grains and scraps from the farms and towns of the Italian peninsula. Some of those grains are wheat, which is also a hybrid species that originated as crosses between wild grasses in the Middle East.

This is not the only process by which new species are arising. On a much longer time scale, all of the species that we have released on thousands of islands across the world’s oceans and transported to new continents will start to become more distinct in their new homes, eventually separating into entirely new creatures. The current rate at which new species are forming may well be the highest ever. A future geologist will look back to the present day as a time of great diversification on Earth, as well as a time of extinction.

The processes of ecological and evolutionary change that brought all of Earth’s existing biological diversity into being – including ourselves – is continuing to generate new diversity in today’s human-altered world. Unless we sterilise our planet in some unimagined way, this will continue. In my book Inheritors of the Earth, I criss-cross the world to survey the growth in biological diversity (as well as to chart some of the losses) that has taken place in the human epoch and argue that this growth fundamentally alters our relationship with nature.

We need to walk a tightrope between saving “old nature” (some of which might be useful) and facilitating what will enable the biological world to adjust to its changed state. Humans are integral to Earth’s “new nature”, and we should not presume that the old was better than the new.

“Inheritors of the Earth: How Nature Is Thriving in an Age of Extinction” by Chris D Thomas is published by Allen Lane

This article first appeared in the 20 July 2017 issue of the New Statesman, The new world disorder