More is less in ‘At World’s End’

Of the actors from the first two films, Bloom has most improved by avoiding self-consciousness and relaxing into his role. Richards, leathery and self-mocking at 63, is such a natural that you can’t help wishing he had more to do.

This time around, Verbinski seems more interested in creating stunning visuals and playing games. A nighttime sequence, in which the stars merge with the sea, while a ship stirs up the mirror-like water, is especially beautiful. Just as gorgeous is Verbinski’s dramatic use of the “green ray” (celebrated in such movies as “Summer” and “A Flash of Green”) that takes place under certain conditions at sunset.

Depp co-stars with several versions of himself in a couple of hallucinatory episodes, much like John Malkovich in “Being John Malkovich,” but these are show-off moments. Just because Verbinski can do it doesn’t mean he’s found a good reason for doing it. And there’s already too much of Depp camping it up as Sparrow. This may be the third time, but the charm’s worn off. No. 4 would really be pushing it.

Creating a successful sequel can be like trying to make lightning strike more than once in the same spot. It can be done, but it’s especially hard to pull off a “threequel.” Neither the new “Spider-Man” nor the new “Shrek” quite managed to do it, and the latest “Pirates” is even less successful.

In the summer of 2006, “Dead Man’s Chest” set a new opening-weekend box-office record that has since been eclipsed by “Spider-Man 3.” No doubt “At World’s End” will give the latter a run for its money in the opening-weekend category as well.

Still, that doesn’t necessarily mean audiences or critics were satisfied with what finally made it to the screen. “Pirates” No. 2 was a good sales job, and “Pirates” No. 3 is expected to duplicate it. No. 1 may trail both films in total box-office receipts, but it’s the one most people will remember.

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