‘Inkheart’ may lead to books (3.5/5)

Inkheart

Starring: Brendan Fraser, Eliza Bennett, Paul Bettany.
Directed By: Iain Softley.
Rating: PG for fantasy/adventure action, some scary moments and brief language.
Running time: 1 hour, 46 minutes.

Let’s see: Read a 500-odd page book, or watch an hour-and-a-half long movie?

Much to my chagrin as a graduate of both English and professional writing, many people would prefer to watch a film adaptation of a story than read the work itself.

That’s all fine and dandy — I mean, I’m a big movie buff myself. But when it comes to transferring someone’s creative written work onto the big screen, a simple rule should be followed: Do it right, or don’t even bother.

I always approach such a film with a little bit of trepidation. The title “Inkheart” appealed to me, however, because not only was it based off of a book, it was also about books.

Not only that, but the film also starred two of my favorite actors: Paul Bettany (“A Knight’s Tale,” “The DaVinci Code”) and Andy Serkis (formerly Gollum of “Lord of the Rings” fame).

Written by Cornelia Funke as the first of a trilogy, screenwriter David Lindsay-Abaire and director Iain Softley provide a good, fun film, though many fans decry its variations.

 “Inkheart” falls into the fantasy-fiction/adventure genre with force, allowing a narrator to divulge before the title screen the mystical power of “silvertongues” and their ability to, quite literally, bring life to books that they read.

Mo Folchart (Brendan Fraser) is one such man, as he found out quite accidentally one evening while reading the book “Inkheart” aloud to his wife, Resa (Sienna Guillory), and daughter, Meggie (Eliza Bennett).

Not only does Mo’s reading call to being the fire juggler Dustfinger (Bettany), but it also brings forth the villain Capricorn (Serkis) and several of his henchman — at a drastic price.

Nine years after bringing these elements of the novel to the world, Dustfinger gives Mo an ultimatum — send Dustfinger back home, or be given over to Capricorn and be forced to read into being things of Capricorn’s desire. Mo refuses Dustfinger’s request, stating that he has no control or knowledge of his “gift,” and escapes with Meggie to Italy and the home of Elinor Loredan (Helen Mirren), Resa’s aunt.

Dustfinger tracks Mo to Italy and brings Capricorn’s henchmen to capture him, Meggie and Elinor, with the understanding that Mo would be forced to read him back into his home — an agreement which, of course, the dubious Capricorn rescinds.

It is quickly discovered that Capricorn fully intends to never return anyone to the novel, but to have Mo read out the fiercest villain of all known only as the Shadow.

Though Fraser is touted as the lead of the film, Bettany far outshines him in terms of acting and even plain characterization. Other highly notable mentions are Mirren as the book-loving, sharp-tongued, my-way-or-the-highway Elinor and Jim Broadbent as Inkheart’s author Fenoglio.

The brief interactions between Fenoglio and Dustfinger are spectacular as creator meets creation. While Fenoglio describes the sensation as the equivalent to giving birth, Dustfinger views the author in disdain and tells him, “You’re not my God.”

Perhaps the best thing of the movie is that it will hopefully inspire young adults to pick up this and other novels and discover the true magic of literature.

3 1/2 of 5 stars

Cliché ‘Code’ a waste of time

The Code

Starring: Morgan Freeman, Antonio Banderas, Radha Mitchell.
Directed By: Mimi Leder.
Rating: R for sexuality, language and some nudity.
Running time: 1 hour, 44 minutes.

How to make a heist movie 101:

• Choose either large sum of cash or random, obscure object (preferably shiny/diamond-coated) that is worth a large sum of cash.

• Make audience cheer for “bad guys” while seeing “good guys” as corrupt and greedy.

• Cast blonde bombshell as sex interest whose life is put in danger by the heisters’ actions.

• Must include a moving laser motion detector and a “unique” way of getting through it.

• Mafia connections a plus.

• Take five to 10 minutes at the end of the movie to explain what the heck happened during the other hour and a half.

Heist movies are perhaps the epitome of recycled storylines. When done right, the film can be clever, fun, smart, the clichés used in creative ways to stand the film apart and make it a must-see (“Ocean’s 11”). When done incorrectly, the movie is owned by the clichés and ends up feeling like a waste of time for the film crew and the audience.

“The Code” (officially titled “Thick as Thieves”) falls under the latter category. With its cookie-cutter plot and uninspired acting/directing, “The Code” is an unfortunate creation of modern Hollywood.
Morgan Freeman and Antonio Banderas must have been hard up for work. I know this is a recession, guys, but come on. Unsurprisingly, director Mimi Leder and writer Ted Humphrey are most familiar with the small screen and should stick with TV shows in the future.

The basic premise of “The Code” is that seasoned thief Keith Ripley (Freeman) convinces Gabriel Martin (Banderas) to team up with him in an effort to steal two Fabergé eggs from a Russian jewelry museum. Needless to say, the prized eggs are secured behind an “impassable” labyrinth of guards, hand-print-reading screens, voice-recognition software, fancy lasers, and, of course, a top-notch vault. When Martin meets Ripley’s goddaughter, Alexandra Korelenko (Radha Mitchell), a lawyer, he immediately falls for and pursues her despite Ripley’s admonitions.

Alex becomes kidnapped by a Russian mob boss who also wants the eggs (valued at $20M a piece) and uses Alex’s life as a way to convince Ripley and Martin to steal the eggs for him instead.
Throughout the team’s preparations, they are pursued by the NYPD officer Lt. Weber (Robert Forster), who seems aware of the two’s plan to steal items of value but is unable to prevent it.

The “connection” between Ripley and Alex is trite and overplayed. After having a one-night stand, Ripley claims to have fallen in love with Alex, but the connection between Banderas and Mitchell never seems quite right. In fact, the love affair just seems to be a convenient excuse for overly explicit and unnecessary sex scenes.

There seems to be no explanation as to why the DVD is titled “The Code” while it is found on imdb.com as “Thick as Thieves.” There also seems to be no explanation as to why the movie was not released theatrically, though that one may not need an explanation.

Besides Banderas’ accent, the only reason to watch the movie is to see what “twist” they came up with. And, while the “twist” is in itself a clichéd plot device, “The Code” has an admittedly unique one. Despite this and a blissfully short running time, the movie is nothing exceptional and may be worth watching once if it’s on TV, you’re trapped inside by a six-foot blizzard, and the only other thing on is a “House of Payne” marathon.

2 of 5 stars

‘Blart’ better than expected (3/5)

Paul Blart: Mall Cop

Starring: Kevin James, Keir O’Donnell, Jayma Mays
Directed By: Steve Carr
Rating: PG for some violence, mild crude and suggestive humor, and language.
Running Time: 1 hour, 31 minutes

I’ll be honest. Watching “Paul Blart: Mall Cop” was on my “To Do” list right below shaving my cat. And I don’t even have a cat.

I don’t know what it was. Maybe the preview just didn’t look that funny. Maybe Kevin James just looked like he was trying a little too hard. Maybe the name “Paul Blart” just didn’t sit right with me (OK — it still doesn’t). Truth was, I just couldn’t fathom how this movie made almost $10 million its first day and rivaled “Cloverfield” for best opening of all-time for the four-day MLK weekend.

But, I did it. I watched it. And really, it wasn’t terrible. I may have a little weakness for Kevin James (we did go to the same college after all — go Red Dragons!), or perhaps I was just in the “Paul Blart” mood, but I actually ended up kind of liking it.

I think the movie came about when James (co-writer along with Nick Bakay, a casual passer-by on James’ “King of Queens”) was hunting for more sweat clothes in the mall and espied a security guard (or is it a security officer?). He then began wondering what would happen if he tried to take over the mall and was challenged by this pseudo-formidable fellow.

“Blart” tells the tale of a man by the name of, shockingly, “Paul Blart.” Even more surprising, he’s a mall cop. The only thing between him and his dream of becoming a New Jersey state police officer is his extreme hypoglycemia, in which he “needs a Snickers bar every 20 minutes” or risks passing out.

Blart is known for taking his security guard job just a little too seriously, admitting to his boss that he made up his very own oath to protect the people of the mall. Blart and the rest of the mall cop crew travel about on Segway PTs, something Blart seems to associate with the job position itself and is actually quite proficient at riding (except for the occasional mini-van run-in).

Blart is a typical lonely guy, but tries to remain happy with his mother and daughter, Maya. With the encouragement of his family, he attempts to woo the pretty kiosk vendor, Amy (Jayma Mays). This leads to a highly entertaining drunken escapade by Blart at a local bar.

But Blart gets to truly show his stuff when the mall comes under attack on Black Friday by a gang who plans to use stores’ credit card codes to steal $30 million, and take Amy as a hostage. Blart uses all means available to him in an effort to single-handedly take out the gang. It’s fun to watch him use elements of different stores against the “bad guys.”

Veck (Keir O’Donnell) and the “reindeer gang” were very shallow and one-dimensional, definitely one of the weakest points of the film. However, if you can get through that, this may just be a movie to enjoy.

I appreciated the lack of vulgarity and sexuality. Don’t get me wrong, “Superbad” is one of my favorite movies. But if not done right, profanity can truly wreck a movie. This is definitely a film I feel that young teenagers and open-minded adults would enjoy watching.

I still don’t fully understand the box office mania that was Paul Blart. But maybe in this time of turmoil and stress, people just needed a feel-good movie, which this definitely is. Go, Paul Blart, go.

3 of 5 stars

‘Torino’ a great ride (4/5 stars)

Gran Torino

Starring: Clint Eastwood, Bee Vang, Christopher Carley
Directed By: Clint Eastwood
Rating: R for language throughout and some violence.
Running Time: 1 hour, 56 minutes

I went into “Gran Torino” with the expectation of it being a good movie (often an enormous mistake), and I wasn’t disappointed.

Clint Eastwood’s superb acting makes caring for an old, cantankerous, racist war vet seem only natural in the drama “Gran Torino.” As he should. After all, he also produced and directed the film. And, if rumors prove true and “Torino” is Eastwood’s last acting appearance, it’s a heck of a swan song. Unsurprisingly, Eastwood steals whatever scene he is in (which is about 99 percent of them).

At the funeral and wake of his wife, Korean War veteran Walt Kowalski (Eastwood) sneers at the young Father Janovich (Christopher Carley) and laments over the uselessness and self-absorption of his two sons, Mitch (Brian Haley) and Steve (Brian Howe), and their families.

While Kowalski only wants to be left alone with his Labrador, Daisy, the changing of his neighborhood from All-American to poor Asian (Hmong) immigrants, gangs included, makes his seclusion attempt downright impossible. Kowalski’s prized 1972 Ford Gran Torino becomes the target of a gang initiation for Kowalski’s neighbor, Thao Vang Lor (Bee Vang), under the guidance of Thao’s cousin “Spider” (Doua Moua) and lackeys.

When shy, kind Thao attempts to disengage himself from his cousin’s ways, he ends up in a wrestling match with Spider which lands them on Kowalski’s property, and on the wrong side of a gun.
Thao’s family and the rest of the neighborhood consider the curmudgeon Kowalski a hero for chasing Spider away, and he is pulled even deeper into their lives and culture.

Through Kowalski’s developing friendship with and understanding of his neighbors, “Torino” explores modern-day struggles and violence in a realistic and introspective way. Though the film is seen mostly through Kowalski’s eyes, the movie attacks stereotypes mounted on Caucasians and Asians alike to prove once again that, deep down, we’re all just human.

Eastwood is the hands-down king of “dirty looks,” absolutely piercing through the screen at times to send a chill through the viewer’s marrow. His routine use of racist and vulgar language may be off-putting to some; however, this solid characterization is necessary for the audience to understand Kowalski by the final turn of events.

For all of its cinematic genius, “Torino” does have a few minor hangups. Notable, the casting of Ahney Her as Thao’s sister Sue. While Sue’s character was spunky and admirable, Her’s acting seemed flat and out-of-place. Sue’s dialogue included some of the most fun and insightful of the movie, and thanks to the good writing of Nick Schenk and Dave Johannson, the character was not lost amidst Her’s grasping attempts. 18-year-old Bee Vang’s portrayal of Thao was believable but not exemplary. Though they are both young (Her is 17 and Vang is 18) and have the liberty of time, I don’t expect to see them in many large roles anytime soon.

Also, I would have liked to see more characterization of Father Janovich. Carley does an amazing job as the young, eager pastor, yet the immense time between his scenes make one almost forget of his presence (this could be a writer’s indication of the lack of faith in Kowalski’s life, or it could just be a writer’s focus on Kowalski’s relationship with his neighbors).

“Torino” is an appreciated quality movie when the standard of other films seems to be dropping lower and lower (“Land of the Lost,” anyone?). A definite must-see for those who are willing to see the extensive vulgarity/racism as characterization and not offensive material. Eastwood at his best.

4 of 5 stars

‘Seven Pounds’ has Smith. That’s all you need to know. (4/5)

Seven Pounds

Starring: Will Smith, Rosario Dawson, Woody Harrelson.
Directed by: Gabriele Muccino.
Rating: PG-13 for thematic material, some disturbing content and a scene of sensuality.
Running time: 2 hours, 3 minutes.

Really, what more do you need in a movie than Will Smith? Since “Bad Boys,” Will Smith seems to be an untouchable encapsulation of everything that is acting. He excels in comedy, action, drama and romance.

“What’s it about again? Oh, Will Smith is in it? OK.”

Smith once again flexes his talent in Gabriele Muccino’s “Seven Pounds,” reunited two years after their collaboration on the dramatic “Pursuit of Happyness.”

The movie kicks off with a distraught Ben Thomas (Smith) reporting a suicide to 911. When asked who the victim is, Thomas replies “I am.”

In a flashback, the audience learns of Thomas’ nuanced and tortured character, which Smith plays so convincingly that I may end up calling him “Ben Thomas” from now on. It quickly becomes evident that Thomas is on a quest to find people in order to give them a type of gift.

Thomas’ phone confrontation with the blind Ezra (wonderfully portrayed by Woody Harrelson) will leave you gaping in a “Did that really just happen?” kind of way, not to mention leave you reeling in confusion. Despite Harrelson’s short amount of screen time, Ezra quickly became one of my favorite characters of the film.

Smith’s co-star is Rosario Dawson, who stands her own beautifully against Smith as the fun, upbeat yet terminally ill Emily Posa.

Despite the strong cast, the film’s two-hour running time seemed to drag quite a bit in spots. Also, many of the secondary characters who are vital to the central theme of the plot are barely fleshed out, and at times merely briefly mentioned. Instead, the movie focuses on Thomas’ connection with Posa, an important but perhaps overplayed plotline.

“Seven Pounds” is a mysterious film about sacrifice, redemption, guilt, atonement and the possibility (or impossibility) of self-forgiveness. Its message will stay with you long after the TV is turned off.
A full explanation of the movie’s title would require multiple “spoiler alert” flashing neon signs; suffice it to say that “Seven Pounds” alludes to Shakespeare’s “Merchant of Venice.” Appropriate, as the film works as a modern-day Shakesperean tragedy.

While the movie was beautiful, bold and innovative, it begs the question of whether it would have been as popular without Smith at the helm. And actually, the film didn’t do as well as producers had hoped it would, placing after “Yes Man” the weekend of its opening. Though admittedly Smith is a major drawing point of the movie, the film’s creative and convincingly dramatic story is worthy of being seen.

4 of 5 stars

It’s easy to get into ‘He’s Just Not’ (4/5)

He's Just Not That Into You

Starring: Ginnifer Goodwin, Alex Long, Scarlett Johansson.
Directed by: Ken Kwapis.
Rating: PG-13 for sexual content and brief strong language.
Running time: 2 hours, 9 minutes.

For all of us sad souls who have ever Facebook-stalked a love interest, “He’s Just Not That Into You” makes us feel not quite so alone in our times of bewilderment, embarrassment and pints of ice cream.

Based off of a novel of the same name, co-producer Drew Barrymore, writers Abby Kohn and Marc Silverstein (both writers on “Never Been Kissed”) and director Ken Kwapis (“The Office,” “Sisterhood of the Traveling Pants”) complement a superbly chosen A-list cast including Ben Affleck, Jennifer Aniston, Barrymore, Jennifer Connelly, Kevin Connolly, Bradley Cooper, Ginnifer Goodwin, Scarlett Johansson and Justin Long.

Kwapis manages to organize the large cast and intertwining plot lines into a believable and surprisingly easy-to-follow story with honest dialogue. The bevy of characters covers all of the bases:

• Mary (Barrymore), a news ad saleswoman, is the manifestation of dating in the digital age, lamenting how “no one meets organically anymore.” She considers a date video-chatting while having coffee. One of her clients is ...

• Conor (Connolly), a real estate agent who desperately needs to get beyond past-hookup ...

• Anna (Johansson), the “blonde bombshell” who is an aspiring singer and falls for ...

• Ben (Cooper), who got married before he felt ready to ...

• Janine (Connelly), who fears that married life has changed her for the worst and works with ...

• Beth (Aniston), who is ready to settle down after seven years of dating ...

• Neil (Affleck), who is committed to Beth but does not believe in marriage.

At the center of these plotlines are:

• Gigi (Goodwin), the insecure girl who consistently misreads the “signs.” She stages an unsuccessful run-in after a date with Conor and meets ...

• Alex (Long), the social yet insensitive bartender who gives harsh, realistic advice such as: “If a guy doesn’t call you, he doesn’t want to call you.”

Goodwin and Long shine as the stars of the ensemble and it’s good to see them hold their own in a cast of well-known actors.

Critics suggest that the film is shallow and shows women as solely desperate, dependent psychopaths and men as insensitive jerks. But that’s what a romantic comedy is. Typically, the characters start off as gender-based stereotypes and later emerge with a deeper sense of self and others. And besides, what woman hasn’t waited for that phone call, and what man hasn’t refused to give it?

For those characters who refuse to emerge, they are cast off, generally alone and just as miserable as when the film started.

Though characterized as a cliché chick flick, the film rather meets head on the insecurities and difficulties that have always surrounded dating and peppers in new complications involving the digital age.

The film is full of insights usable for women and men, such as suggesting a believable answer to the age-old “why does the bad boy always get the girl?” which is posed at the start and sets the pace for the rest of the movie.

A fun touch Kwapis adds to the film is that of the documentary-style “drive-by confessions” introducing each “chapter” of the plotline. Here, Kwapis brushes against an opportunity to truly make “He’s Just Not That Into You” unique, but leaves these “confessions” as brief intervals rather than delving into their potential.

Though not up to the level of “Love Actually” (arguably the end-all be-all of rom-coms), “He’s Just Not That Into You” is engaging, introspective and fun, and will leave most viewers with a smile.

4 of 5 stars

‘Darko’ sequel can’t hold a candle to ‘Donnie’ (1/5)

S. Darko

Starring: Daveigh Chase, Briana Evigan, Ed Westwick.
Director: Chris Fisher.
Rating: R for language, some violent content and brief drug use.
Running Time: 1 hour, 43 minutes.


“S. Darko: A Donnie Darko Tale,” fails miserably as an attempt at being a sequel or even a decent movie in general. The fact that it was sent straight to DVD immediately sends up a multitude of red flags.

“Donnie Darko” is a beloved cult classic, a psychological thriller set in 1988. Donnie (Jake Gyllenhaal) finds himself tangled in an end-of-the-world web when the menacing bunny-costumed “Frank” appears to him. The movie cuts its ties nicely, weaving them intricately into its tightly knitted plot.

“Donnie Darko” examines action and reaction, selfishness vs. selflessness, human nature, life, and, inescapably, death. It’s a film that can be watched again and again and constantly provides new insights into its own depth.

“S. Darko” is a cheap, shoddy, poor excuse for a straight-to-DVD movie whose sole bit of interest is that the main character, Samantha Darko, is played by the same actor as in Donnie Darko, Daveigh Chase.

“S. Darko” also suffers from the lack of such “Donnie” mood-setters as Gary Jules’ somber “Mad World” and Tears for Fears’ “Head Over Heels.”

But, perhaps it’s unfair to compare “S. Darko” to “Donnie Darko.” After all, the original was written and directed by Richard Kelly. “S. Darko” was written by Nathan Atkins and directed by Chris Fisher.
“S. Darko’s” convoluted plot begins when Samantha and rebellious best friend Corey (Briana Evigan) face a broken-down car on an impromptu cross-country journey. Bad boy Randy (Ed Westwick) offers them a lift into his nearby small Utah town, where they hole up in a motel.

The next day, Samantha sees a meteorite crash site at a local farmer’s windmill and later discovers that local nerd Jeremy has procured it, and is also quite smitten with her. The meteorite later appears to be the cause of an inexplicable rash that appears on Jeremy’s body as well as a personality shift.

While Corey enjoys partying with Randy and frolicking about in nigh-professional-dancer wear (though, admittedly, Samantha is pointlessly barely clothed at times as well), Samantha’s “dead” body appears to the local nut, Iraq Jack (James Lafferty), whom “she” commands to burn down a local church, which infuriates the local religious folk.

Frank’s “when the world will end” countdown is back, but this time given by Sam to Iraq Jack.
Oh, in a side plot barely worth mentioning except for the creepy appearances of a dead boy, Samantha also learns about two missing young boys from the town, one of whom is Randy’s little brother.

Lafferty arguably gives the most believable performance of the cast as a crazed, obsessed war veteran. Evigan’s pointlessly provocative outfits distract from her wooden dialogue, and Westwick’s attempts at anything deeper than a superficial “bad boy” fall flat.

Fisher attempts to re-create the world of “Donnie Darko” with a bunny-headed mask akin to Frank, the “future motion” that come out of character’s chests, and similar scenes such as sped-up clouds and slowed-down parties.

Another element that is included, “The Philosophy of Time Travel” by Roberta Sparrow, seems to play significantly in “S. Darko,” yet, following the plot of “Donnie Darko,” should not be in Samantha’s possession. Donnie received the book during the in-between time of the initial jet-engine crash and the reset of time.

And, like the original, “S. Darko” rewinds time — but not just once. While Fisher is grasping for themes of sacrifice, love and free will, he only manages to reach pointless.

“S. Darko” tramples on the ingenuity and provocativeness of the original. Amazingly, it even sinks below the other poor cult sequel that was recently released, “The Lost Boys: The Tribe” After watching “S. Darko,” you’ll wish you had Darko “superpowers” and could regain the two hours you spent.

1 of 5 stars