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Gore Verbinski, who directed the first three installments with wanton energy, rococo visual flair and a flagrant disregard for narrative coherence, has been replaced by Rob Marshall, who specializes in turning well-loved pieces of popular art (“ Chicago,” “Memoirs of a Geisha,” “ Nine“) into tedious, literal-minded prestige movies. Not that “On Stranger Tides” is especially inventive. Why would the Walt Disney Company, which distributes these movies, and Jerry Bruckheimer, who produces them, ever want to leave well enough alone? In Hollywood, gratuitous excess - not necessity - is the mother of invention. Whether the effort was absolutely necessary is both an obvious and a naïve question. This film, the fourth in a series that made its improbable and profitable leap from the theme park to the multiplex eight summers ago, represents an attempt to rejuvenate a flagging franchise. It is fitting that what passes for a plot in “Pirates of the Caribbean: On Stranger Tides” involves a search for the fountain of youth.
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