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The stunts and special effects live up to summer blockbuster standards as well. Particularly effective is the blend of makeup with CGI for Davy Jones' octopus face and his similarly creepy looking crew. And you can bet people will be buzzing all summer about the Kraken, a gigantic tentacled beast that snatches scores of terrified sailors while crushing their ships—more horrific than the famed giant squid of Disney's 20,000 Leagues Under the Sea, and convincingly rendered with the same quality as the creatures of the Lord of the Rings trilogy.

I would caution parents to heed the PG-13 rating here. Like The Empire Strikes Back, this second chapter is considerably darker than its predecessor, though not as much as, say, Indiana Jones and the Temple of Doom. The creatures are more vicious in this, the makeup more frightening, and there's a cannibalistic tribe that's mostly played for laughs despite presenting a necklace of severed toes. The story also revels more in folklore and legend between the tribe's worship practices, the mythology surrounding Davy Jones, and a creepy voodoo lady that seems to have all the answers. Gruesome as it all sounds, most of it is carried with the air of a haunted house around Halloween—it never takes itself too seriously.

There's something snaky about that Davy Jones guy

The series does adore its characters, though, and none more than Jack Sparrow, perhaps the most iconic new film character of this millennium thus far. Depp has masterfully made the role his own, developing it into something rich, quirky, memorable and truly unique. A sly chauvinist, yet almost a little fey with his charisma, it's a performance that captures your attention every time he's on screen, despite the character's disgusting hygiene. There's something about that mischievous glint in his eye and the way he can garner a laugh with a worried facial expression or even a mere grunt of frustration.

Depp's the standout, but let's not shortchange the rest of the cast. They all play their parts with equal measures of bravado and comedy. These roles work well in the context of the story, as does everyone else from the lowliest pirate to the snobbiest nobleman. Many have said that Will is too much a straight arrow, Elizabeth too much the feisty modern woman, and their romance too ignored. And yet I can't help but compare the chemistry of the three leads with that of another famed trio involving a hero, princess, and scoundrel that sidetracked some of its romantic potential in favor of humor and space action.

Not to say that this is as good as the original Star Wars trilogy, but it does create the same sort of fun thrill ride that used to be the norm during the summer movie season. In spite of its small shortcomings, Pirates of the Caribbean: Dead Man's Chest deserves praise for being an old-fashioned popcorn movie that knows how to entertain. Audiences may have been doubtful of the first movie, and perhaps a little skeptical of this one, but you can bet they'll be clamoring for Pirates of the Caribbean: At World's End come May 2007.

1. Captain Jack Sparrow—hero or rogue? Does he try to do the right thing in spite of his flaws, or is he a scoundrel who only helps others to get what he wants? Where do you think he ends up, and is it a true reflection of humanity's dual nature?
   
   
2. At the start, Sparrow's motivations stem from a desire to cheat death. Do you think that changes by the film's end, particularly in his last scene? In other words, do you think he learned to embrace his mortality? What about Christianity? Are we able to somehow "cheat death," and if so, how do we face our mortality?
   
   
3. What do you make of the film's references to pirate folklore and voodoo? Is there danger in the way it's presented—i.e. is it meant to be taken seriously? Why or why not?
   
   
4. How do we reconcile such elements with the scene where two characters discuss divine providence vs. chance? Is anything meant to be read into that glimpse of theology, or is all the religion and superstition merely window dressing, just part of the storytelling?

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