By Delia Paunescu

It was inevitable, bound to come like the flocks of teenagers at the beach with the start of summer. It was the ever-expected Pirates of the Caribbean: At World’s End, the third installment in an ever-evolving franchise that Disney has managed to turn into an annual event. And this year, it came bigger than ever, though the better part is still up in the air.

Along with the work of director Gore Verbinski, Disney proves it knows how to entertain and in the spirit of doing things right, they’ve even enlisted the help of the go-to Asian, Chow Yun-Fat, who has allowed himself to be turned into a stereotype for the role of pirate lord Sao Feng complete with offensive accent and hideous hygiene for the chance to cash in on the big bucks this movie has made all involved.

Sometimes, the film spares a cohesive plot for action as night turns to day and quiet suddenly becomes cannon battles (and the jury’s still out on all the crab references) without explanation to an audiences just waiting for a glimpse of Johnny and Orlando. The deals, accords or much of the dialogue may not make much sense, but when Captain Jack Sparrow (the incomparable Johnny Depp) is on the screen, you can’t help but smile. In this respect, Disney delivers; for nothing is better than a boatful of Johnnys and (even for those of us who don’t swoon all over Mr. Depp) his screen presence and talent as an actor can’t be denied. Surely, if Depp’s iconic figure wasn’t set with the creation of a Jack Sparrow statue at Madam Tussaud’s, it will be with this third Pirates installment.

Keira Knightley also returns in her role as Elizabeth Swann, now with more eyebrow, less pout and a considerably larger role. It’s definitely an interesting change of pace to see Elizabeth take over the Black Pearl, showing little girls around the world that taking a backseat and showing a lot of cleavage isn’t the only way to make it in Hollywood. But that is what Tia Dalma (Naomie Harris) does as she becomes the sea spirit Calypso, turns into a giant and explodes into a million crabs. The extensive make up department manages to make Harris and everyone else look sufficiently dirty, blending with sets and lighting to create an equally grimy end of the world.

Keeping with the trend that began when David Bowie showed up in last year’s The Prestige, Depp’s reported inspiration for the character of Jack Sparrow, a surprisingly alive Keith Richards, shows up looking worn and tattered. (There was most likely little makeup involved for the closest thing we have to a pirate in the 21st century.)

Richards delivers what is quite possibly the film’s most insightful line: “The trick isn’t about living forever, it’s living with yourself.” Let’s hope Depp realizes this before it’s too late and he ruins his career with blockbusters.

And while we can appreciate Disney trying to give us our money’s worth with an overabundance of special effects and pointlessly drawn-out story, by the time the final battle begins, even the small soda you’ve had kicks in and you have to go to the bathroom so bad, you don’t quite care who wins, dies or kisses at the end.

But the end comes with a marriage (you can figure out whose), and a sufficiently created teaser for what’s sure to be next summer’s Pirates follow-up. Perhaps the fourth installment can focus on Keira’s pout, the parrot and the monkey – definitely the most interesting parts of the World’s End.