For an innocuous Touchstone family comedy, Captain Ron isn’t bad. Like most Touchstone movies, it lacks any real personality–Daryn Okada’s photography, for example, should be full of lush Caribbean visuals but it isn’t. Part of the blame goes to director Eberhardt, who doesn’t know how to open up his shots, and Okada’s no help. Ron feels too artificially controlled.
The movie still has some very amusing moments and it’s well-acted by the principals. More accurately, the adult principals. Martin Short inherits a boat and brings along wife Mary Kay Place and kids Benjamin Salisbury and Meadow Sisto. Salisbury is annoying, Sisto’s bad.
Place easily gives the film’s best performance, while Russell manages to be charming with the illusion of edginess. That Touchstone touch. Short’s wrong for his role as a neurotic control freak; his best scenes are when Eberhardt’s stuck using him as a physical comedian. Short’s good enough to sell the non-physical stuff, but he’s in the way of his own movie. Eberhardt and co-screenwriter John Dwyer don’t have a particularly good script and their character arcs are even worse.
Those writing problems aside, Eberhardt has five principal cast members and barely any significant supporting cast and he paces the scenes exceedingly well. His problem’s his weak composition. The short set-up–a walking, exposition-filled argument between Short and Place–still feels natural and complete, even though it’s manipulative.
William F. Matthews’s production design is better than Ron deserves. Nicholas Pike’s music is worse.