3 март 2011 г. - NY TIMES There's a New Sheriff and in Town, He's a Rootin-Tootin' Reptile

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Perhaps this should not be too surprising, since Mr. Verbinski, especially in the first installment of the “Pirates of the Caribbean” series, showed a distinctive visual style and a genuinely off-beat sensibility. He was helped immeasurably, in all of the “Pirates” pictures, by the decorative whimsy of Mark McCreery (the production designer here) and by the uninhibited goofiness of Johnny Depp, who turned Jack Sparrow into a new pop-culture archetype. Both Mr. McCreery and Mr. Depp are crucial to the look and rhythm of “Rango,” keeping it vigorously strange almost until the end, when the movie decides to go for the safe, commercial action-extravaganza wrap-up.

But the craziness of the journey makes that familiar destination worth it. We first encounter Mr. Depp’s character, a domesticated lizard with a Hawaiian shirt and an active imagination, in the terrarium tank he shares with a broken doll torso and a wind-up plastic fish. This minimal world is a stage for him, and he struts about on it like a scaly provincial trouper, acting out dramatic scenarios and scenes from Shakespeare to dispel the boredom of benign captivity. The blank, abstract space this creature inhabits calls our attention to the fanciful nature of the movie itself, as it begins to conjure an antic, improbable world out of nothing.

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