Based on Cornelia Funke’s best-selling children’s book Inkheart takes its literary inspirations literally. It revolves around a father Mortimer “Mo” Folchart (Brendan Fraser) and his 12-year-old daughter Meggie (Eliza Hope Bennett) who share a gift -- or curse -- of being able to make characters leap out of the pages just by reading aloud. Unfortunately whenever they do this a real person must then be transferred into the book as a replacement. It can get complicated especially when Mo accidentally sends his wife (Sienna Guillory) into a book called Inkheart only to bring out its villains to wreak havoc on the real world. He spends the next nine years trying to find another copy of the book and bring her back while one of the book’s main characters Dustfinger (Paul Bettany) follows Mo trying to get back into the book. An adventure waiting to happen! The entire cast is wonderfully in tune with the whimsical tone of this inventive and clever story. Fraser doesn’t stretch any acting muscles but serves the film well as its central father figure and hero. Bettany (Master and Commander) as the literary sidekick Dustfinger steals the whole show giving his character heaping amounts of irony warmth and humanity. Joining them is Helen Mirren who adds an element of elegance and uptightness as the great aunt swept along for the ride. Andy Serkis (LOTR’s Gollum) is properly villainous throughout while Brit Jim Broadbent (Iris) is daffy and hilarious as the author of Inkheart who keeps complicating matters for everyone. Inkheart uses sheer imaginative filmmaking prowess with an engaging story that feels as original and fresh as it does familiar. Director Iain Softley (Wings of the Dove) makes the most of the colorful European locations including the picturesque Italian Riviera transformed into storybook heaven. The film is well-paced carrying a great subtle message about the powers of reading and creative writing. Much like the Oscar-nominated The Reader -- a wildly different kind of movie to be sure -- this film shows the joys of getting lost and in this case found in the world of books.
After surviving a devastating car accident following her first college party freshman Cassie (Melissa Sagemiller) falls into a coma and steps into a nightmare of otherworldly visitations. Haunted by a grim reaper of a far different kind her only hope is to cling to chance encounters with her lost love Sean (Casey Affleck) and the aid of a mysterious young priest named Father Jude (Luke Wilson). Cassie's malicious friends Matt (Wes Bentley) Annabel (Eliza Dushku) and the morose Raven (Angela Featherstone) seem intent on drawing her to the dark side but the spirit of her soul mate Sean guides her back to the world of the living.
Sagemiller (Get Over It) may be a fine actress but this film--her second full-length feature--isn't the one to prove it. Not that Sagemiller does a poor job but like most dull and stale horror movies the female lead isn't asked to do much other than look frightened and scream--a lot. Affleck (Good Will Hunting) Bentley (American Beauty) and Dushku (Jay and Silent Bob Strike Back) are among the more talented actors of their generation but are completely wasted especially Affleck in his one-dimensional role. Wilson as Father Jude is the only character with an interesting part but unfortunately the good Father's development is stunted and incomplete leaving Wilson little to work with.
Steve Carpenter's first turn as a director leaves much to be desired. Of course Carpenter wrote the formulaic script so why shouldn't he be the one to helm it? One major flaw (and there are plenty to choose from) is that nearly half the movie is shot tight on the characters giving the audience a very myopic view. Even if that was intentional it certainly did nothing to heighten the tension (what little of it there was) in the movie. The flick's tagline "The World of the Dead and the World of the Living... are About to Collide" conveys the message of an epic struggle between the forces of evil and the forces of good--a struggle that never materializes. And the film's final message that love conquers all is the boring hackneyed truism that breaks the cliché camel's back.