Jay Baruchel is Hollywood’s affable geek du jour having plied his unique trade recently in the animated blockbuster How to Train Your Dragon and the considerably less successful rom-com She’s Out of My League. His gangly frame twitchy visage and nasal drone make him perfect for movies in which awkward self-effacing underdogs triumph against enormous odds to achieve great feats like saving a Viking tribe from certain destruction or getting laid by a really really hot blonde chick.
Movies like The Sorcerer’s Apprentice a live-action CGI-fest directed by Jon Turteltaub (the National Treasure films) and inspired by a famous sequence from Fantasia Walt Disney’s groundbreaking collection of animated shorts. Fantasia debuted in 1940 long before Disney subleased its animation work to Pixar and "Fantasia" became more commonly known as a popular name among exotic dancers. My how things have changed.
Baruchel plays Dave a hapless NYU physics nerd unwittingly cast into the middle of a centuries-long good-versus-evil battle between powerful sorcerers who wield an infinite array of supernatural powers. Representing the good guys is Balthazar (Nicolas Cage) a wide-eyed eccentric whose all-black goth-pimp ensemble draws nary a suspicious glance on the eclectic streets of Manhattan. Dave it turns out is no ordinary college student but the Prime Merliner which sounds like an underwater number divisible by only one and itself but in actuality is a sort of wizard messiah destined to rid the world from the likes of the sinister Horvath (Alfred Molina) and his imprisoned overlord Morgana (Alice Krige). That is if he can take time off from his bumbling courtship of a pretty co-ed (Teresa Palmer) to actually learn the tricks of the sorcerer’s trade.
“Disposable” and “formulaic” are terms commonly applied to both of Turteltaub’s National Treasure collaborations with Cage but I submit that those films are at least fun if ultimately forgettable. The Sorcerer’s Apprentice is far less fun and far more forgettable its formula followed so perfunctorily that it ultimately comes off as an elaborate exercise in corporate cynicism one unlikely to inspire the string of sequels it so transparently hopes to conjure. Which is a shame because the film shows intermittent signs of promise and Cage despite his distracting perm is oddly charming as a sort of desperate weirdo.
If you have ever been embarrassed by your big loud family then you will certainly relate to Toula (played by Nia Vardalos) the narrator and main character in My Big Fat Greek Wedding. After all her suburban home is modeled after the Parthenon and her father (played by Michael Constantine) believes a squirt of Windex can cure anything--including bursitis--and that every word in the English language derives from a Greek root. At 30 Toula is still living at home and kowtowing to her strict father--who believes that every Greek woman's ambition should be to marry a Greek man have Greek children and feed everyone until she dies. Suffice it to say he is less than happy when Toula becomes engaged to Ian (played by John Corbett)--a non-Greek. What ensues is a hilarious tale of what happens when two families--one loud Greek Orthodox the other conservative Episcopalian--must reconcile their differences for the sake of their children's happiness. Vardalos' narration of the events that are occurring--and how she feels about them--helps draw the viewer into Toula's world.
Vardalos is great as Toula and presents her character's traits and peculiarities fittingly well like her low self-esteem and the way she slouches. More importantly Vardalos made Toula's character believable. When Toula begins taking classes at a local college her confidence improves she puts on a little makeup combs her hair and voila! She's transformed into a beautiful person oozing happiness. It's quite charming. Corbett is well cast as the sweet and accepting fiancé but he comes across as a little bland. That really dated haircut certainly doesn't win him any points either. Constantine as Toula's strict father is chauvinistic and thick-headed but he plays his cards just right so you can never really hate the character straight out even though he treats his wife and kids like a Neanderthal would. As Aunt Voula Andrea Martin is by far the most hilarious of the bunch and she delivers each line with zany conviction. For all you 'N Sync fans Joey Fatone has a small role as Toula's cousin and has maybe three lines in the film.
My Big Fat Greek Wedding is based on comedy writer Vardalos' one-woman show. Tom Hanks and his wife Rita Wilson saw the show and apparently liked it so much they decided to produce it through their Playtone studio. Directed by Joel Zwick the film is not the first to deal with big weddings and what happens when too many family members get involved. Ang Lee did it better with the 1993 romantic comedy The Wedding Banquet about a gay Taiwanese-American man who marries a young Chinese woman to satisfy his parents as did Mira Nair with last year's Monsoon Wedding about an arranged Indian marriage. But Zwick who has directed a slew of TV shows from Happy Days to The Wayans Brothers keeps things fresh and funny despite the tired storyline. Set in Chicago but filmed in Toronto the film feels authentic especially the scenes in the family's diner Dancing Zorbas their house and their neighborhood. But the movie could have done without the cartoonish old-world granny with anti-Turkish sentiment.
Bobby Garfield (David Morse) returns to his small hometown to attend the funeral of his childhood friend and remembers the fateful summer in 1960 when his whole world changed. The story flashes back to when 11-year-old Bobby (Anton Yelchin) and his best friends Carol (Mika Boorem) and Sully-John (Will Rothhaar) capture the pure joy of youthfulness. When a mysterious stranger named Ted Brautigan (Anthony Hopkins) moves upstairs and starts to pay attention to Bobby the boy suddenly realizes what's truly missing from his life--the love of a parent. Bobby's mother Liz (Hope Davis) is embittered by the death of Bobby's father and shows little compassion for her son's growing needs. Ted fills a void with the boy opening his eyes to the world around him and helps Bobby come to terms with his real feelings for Carol--and his mother. But Ted also has some deep dark secrets of his own and Bobby tries hard to stop danger from reaching the old man.
The performances make the film especially in the genuine camaraderie of the kids. Yelchin Boorem and Rothhaar never deliver a false move with an easiness that makes us believe we are simply watching three 11-year-old children grow up together. Yelchin in particular is able to get right to the heart of this young boy who misses his father and clings to the only adult who will listen. And his scenes with Boorem simply break your heart. (Davis) does an admirable job playing a part none too sympathetic. She manages to show a woman whose been beaten down but who does truly love her son in her own way. Morse too is one of those character actors you can plug in any movie and get a performance worth noting. In Hearts you want to see more of him. Of course the film shines brightest when Hopkins is on the screen. It may not be an Oscar-caliber performance but the actor is unparalleled in bringing a character to life--showing the subtleties of an old man looking for some peace in his life.
If you are expecting the Stephen King novel you may be disappointed. Screenwriter William Goldman and director Scott Hicks (Shine) deftly extracted the King formula of telling a story through a child's eye and explaining how the relationships formed as a child shaped the adult later. Hicks did an amazing job with his young actors especially Yelchin and Boorem. But where the novel continued into a supernatural theme explaining Brautigan's fear of being captured by "low men in yellow coats" (a reference to King's The Dark Tower series) the movie downplayed the mystical elements instead giving real explanations for Brautigan's man-on-the-run. That was the one problem with Hearts--we needed more danger. Introducing men from another dimension may not have been the way to go but had there been more tension the film would have resonated more especially when Bobby risked his own safety to save Ted.