The Lone Ranger

A naive child's material desires accidentally instigate a collusive capitalistic intercultural catastrophe, as contemporary conditionals refurbish historical hindsights with oratorical laments, and a story is told, details epically bulleted, questions, considerations, responses, internally and externally as the dialogue between listener and storyteller is narratively emboldened, and The Lone Ranger arrives incognito, possessing both lock and key, determined to develop a fair and equitable jurisprudent viaduct, even after it becomes clear that the canyon's been railroaded.

A sincere yet ingenuous circumspective screw, he lacks the pugnacious grit his fellow citizens unconsciously prevaricate, yet is aptly suited for the role of quizzical non sequitur, twisting and turning to fasten himself to the margins.

The film's first 45 minutes are a fast-paced exhilarating hyperkinetic mélange of symbolism and ideology, economically and stereoscopically situated, frothing, gushing, crushing.

The rest awkwardly yet entertainingly condenses myriad systemic tropes, honesty and integrity occupying the position of outcast in a direct no-nonsense Western filmscape (cinematography by Bojan Bazelli), wherein established politicians and lawbreakers represent both sides of an irremediable coin.

Tonto (Johnny Depp) and the Lone Ranger (Armie Hammer) activate a spiritually guided sense of justice, the former having no recourse to courts of law, the latter dedicated to enabling one.

The mask remains.

Also an imaginative account of what can be created if one frequently visits museums, libraries, art galleries, etc.

While taking an interest in sport.

Rango

Having accidentally escaped from his comfy aquarium, the theatrical Rango (Johnny Depp) is thrust upon the real world's stage. Finding himself in the small Western town of Dirt, he must instantaneously invent a hard-boiled character and deliver a stunning performance. When challenged he doesn't back down and fate consequently hands him a thunderous climax. His reward: the job of town Sheriff. His duty: protect the people of Dirt from ne'er do wells and bring back the water. The town has been drying up and the water that used to vigorously flow has stopped delivering its revitalizing bounty. As necessity demands action and circumstances require trust, Rango mystically discovers his edge and instinctively prepares for the final countdown.

In Rango, Gore Verbinksi works within the Western tradition in order to try and democratize its black and white contours. A monopoly has been sinisterly established thereby preventing the fair and equitable distribution of wealth. A comical hero strikes back, affirming the rights of his citizens in the hopes of restoring their dignity. Aided by a shapeshifting divinity, he develops the confidence he never knew he had and learns to sublimate his fears. Unfortunately, while the basic plot attempts to champion democracy, the formal elements are conservative as they come. The lead female character (Abigail Breslin as Priscilla) is wooden and static, occasionally lapsing into comatose trances when overwhelmed, and doesn't exactly disseminate a multidimensional presence. The people are capable of understanding Rango's idiosyncratic diction but they are still portrayed as foolish and inconsequential in their attempts to do so. Rango does possess an intriguing degree of self-awareness insofar as Rango is aware that he is on a peculiar quest that is being mythologized by a musical group of owls, and from time to time the film highlights its self-referentiality (ambiguously suggesting that Rango never left his aquarium). But at sundown, the quest and story are predominantly Rango's, not the people of Dirt's, even though Rango's purpose is to save the town and provide its inhabitants with a decent standard of living. More scenes showcasing the personalities of the townsfolk would have increased the democratic value of Rango's currency ten-fold.