Everything appears to be status quo between humans and mutants. There’s a president who is sympathetic towards mutants Prof. Charles Xavier’s (Patrick Stewart) school is thriving and Magneto (Ian McKellen) is quiet--for the moment. But when a “cure” for mutancy is discovered which would give those with the mutant gene the choice to give up their powers and become human Magneto sees red. Cure mutants? Dem’s fightin’ words. With a few more allies on his side--including the resurrected Jean Grey (Famke Janssen) who now calls herself the Phoenix and has unlimited powers--Magneto prepares to trigger the war to end all wars while the X-Men--lead by the stalwart Wolverine (Hugh Jackman) and milquetoasty Storm (Halle Berry)--try to stop him. I seriously doubt this is really their Last Stand. All the usual suspects are back. Stewart is once again sufficiently wise as Xavier while McKellen’s Magneto continues to be one of the cooler comic-book villains. It’s amusing to watch him calmly mangle cars or dislodge the Golden Gate bridge with a gleam in his eye. Janssen also seems to relish playing dual roles--the tormented Grey and her evil alter ego Phoenix who is one scary broad. Unfortunately Jackman doesn’t have as much to chew on in Last Stand as he did in X2 and Berry is once again only good for drumming up fog. But the new mutants are kind of fun: Ellen Page (so deadly in Hard Candy) plays sweet this time as Kitty Pryde who can “phase” through solid material; Vinnie Jones (Snatch) is boisterous as the aptly named Juggernaut; Kelsey Grammer is diplomatic as the highly intelligent--and very blue--Dr. Hank McCoy aka Beast; and Dania Ramirez (Fat Albert) as the blink-of-an-eye quick Callisto gets to kick Storm’s ass. Cool cat fight. How dare director Bryan Singer leave his X-Men to go direct another superhero movie even if it is Superman Returns. If Wolverine had anything to say about he might have ripped Singer a new one. You really do feel Singer’s absence in The Last Stand. All of the director’s tormented pathos towards his mutant comrades and their struggles to live in the human world are not as prevalent in this third installment. Instead we’ve got happy-go-lucky director Brett Ratner of Rush Hour fame who turns The Last Stand into one giant id--big explosive and campy. Of course to his credit Ratner is pretty good at delivering a rousing albeit superficial action movie. It’s just not as gripping as X2. But listen the spirit of the comic is already built in from the previous installments so in essence we already know these characters pretty well. Do we really need more angst?
Oscar-winning screenwriter Akiva Goldsman adapts Brown’s bestselling page-turner to the best of his ability adding a few variations of his own but following the general plot of the novel. Robert Langdon (Tom Hanks) a professor of iconography and religious art becomes embroiled in a mystery when the highly respected Louvre curator in Paris is found murdered. Before he died he was able to leave Langdon and cryptologist Sophie Neveu (Audrey Tautou) the curator’s granddaughter clues through Da Vinci’s works which eventually lead them on a quest for the Holy Grail itself. Along for the ride is historian Leigh Teabing (Ian McKellen) a Paris detective (Jean Reno) and an albino monk (Paul Bettany) intent on stopping them. But here’s the kicker: one of Da Vinci’s theories is that Mary Magdalene and Jesus Christ were married and had a child thus creating a “sang real” or “royal bloodline” that must be protected destroyed or exposed--depending on which side of the fence you’re on. Ah the stuff great stories are made of. Upon hearing the casting of Da Vinci many of the book’s avid fans rejoiced--it is indeed a stellar line up. But it is probably one of the least compelling performances star Hanks has ever turned in. It’s not his fault really; Langdon is equally as stiff in the book. Same sort of goes for the Sophie character which is a shame for the lovely Tautou (Amelie) who isn’t able to fully utilize her incredibly expressive face here. Both actors could have been more animated but they are really the conduits for the more colorful supporting characters surrounding them. Bettany (Wimbledon) does an admirable job as the baddie a self-flagellating zealot intent on following orders even if the amiable actor is a bit ill-suited as a villain. But it’s McKellen who steals the show as the acerbic but jovial Teabing full of conspiracy theories and revelations about the true meaning of the Grail. The veteran thesp has a lot of information to pass on in the film but does so in a very engaging way. When he finally exits so does the film’s energy. Therein lies the main problem with The Da Vinci Code: Keeping up the momentum. The novel is chockfull of exposition--pages and pages of historical information along with passages about the characters’ pasts. It’s great to read but to watch it unfold on screen could have been an excruciatingly boring experience. Goldsman and Howard have both admitted having trouble adapting the material trying to find ways to make the story more cinematic. But the Oscar-winning Howard has proven himself to be a highly capable director and gives Da Vinci Code the necessary touches interweaving visual re-creations within the narration. Salvatore Totino's glistening cinematography also accentuates the lush sets while Hans Zimmer's score pumps it up. Still at two and a half hours Da Vinci Code drags. It has to--you’ve got all the book’s theories to get out. It's true Brown’s imaginative opus for obvious reasons rocked a few boats when it was first published but it sold millions. It stands to reason the movie will do the same at the box office.