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.
Shedding many of those trappings that make a James Bond movie well a James Bond movie Quantum of Solace is really the first sequel ever in the long-running series. While it’s always exciting something gets seriously shaken and stirred in the translation. Picking up exactly where the brilliant Casino Royale left off we see Bond (Daniel Craig) trying to get to the bottom of why his love Vesper Lynd had to die jumping right into the first of many MANY chases as he traverses six countries. Still on rogue patrol Bond then inadvertently meets the crafty and gorgeous Camille (Olga Kurylenko) who introduces Bond to the evil Dominic Green (Mathieu Amalric) the head of an eco-phony stealth operation angling for some prime desert land while financing a crooked Bolivian general’s planned coup. With the ever resourceful M (Judi Dench) trying to keep him in line at all times Bond must put his revenge plans on hold as he crosses paths not only with Greene and his fake pro-environment front but also the intriguing and mysterious group known as Quantum. In this outing Daniel Craig -- leaner and meaner than any previous Bond -- really becomes a man of single-minded determination and grit. He’s less like the James Bond we know and love and more a humorless killing machine like Jason Bourne (those two should really get together). Still Craig is such a compelling actor that we are with him all the way even if he doesn’t go for the suave Bond moves. Olga Kurylenko is a great foil but not totally in the tradition of a Bond girl. A later encounter with Gemma Arterton as a British agent in Bolivia does however briefly recall the heyday of Goldfinger. Judi Dench has taken the perfunctory role of M and turned it into a full-blown supporting role. Her dry wit and take-no-prisoners attitude is welcomed every time she shows up on screen. French star Mathieu Amalric (The Diving Bell and the Butterfly) doesn’t really pull off his villainous alter-ego ecologist while Jeffrey Wright is pretty much wasted as U.S. agent Felix Leiter. At least Giancarlo Giannini returns for some nice moments with his Craig. Although they usually leave the challenging job of steering the Bond ship to an English director oddly this time the baton was handed to Marc Forster known more for his intimate dramas such as Finding Neverland and Monster's Ball. His grip on the action sequences is secure but he never really seems to have a handle on what distinguishes this legendary movie spy from everyone else. There’s a reason Bond has survived as a screen icon for almost half a century but the sort of workman-like filmmaking Forster displays here does not represent 007’s finest hour. It’s almost like the producers had a checklist: car chase on winding roads; boat chase; airplane chase; rooftop chase -- all check. Quantum of Solace is definitely worth checking out however. I mean it IS Bond and we wait for these movies on bated breath. Just maybe next time a little less Bourne please.
For a few years in the '60s and '70s producer Gerry Anderson made "supermarionation" all the rage in the world of British children's television. His stop-motion puppets starred in a number of sci-fi adventure series most memorably Thunderbirds which followed the exploits of International Rescue -- a team comprised of ex-astronaut Jeff Tracy and his sons. Based out of their secret fortress on Treasure Island the Tracys (aided by lovely secret agent Lady Penelope) used their amazing rocket-powered vehicles to prevent disasters and save lives around the world. Now 40 years after Thunderbirds' TV debut Star Trek vet Jonathan Frakes has brought Anderson's characters to life on the big screen. Front and center is youngest son Alan Tracy (Brady Corbet) who dreams of the day he too can pilot one of his family's fab ships and lead missions. But first he has to prove himself to his father Jeff (Bill Paxton). That opportunity comes sooner than either expects when mysterious villain The Hood (Ben Kingsley) strands Jeff and the older Tracy boys in space and attacks Treasure Island. With only his friends Tintin (Vanessa Anne Hudgens) and Fermat (Soren Fulton) to help him Alan has to grow up quickly if he wants to save his family ... and the world!
It would be easy to mock several of the performances in Thunderbirds-- to chide Paxton for his earnest seriousness as Tracy patriarch Jeff to dismiss Corbet's angst-tinged eagerness as Alan to roll your eyes at Kingsley's over-the-top mystical fierceness as The Hood and to wince at Fulton and Anthony Edwards' nerdy stuttering as science whizzes Fermat and his dad Brains. But actors are only as good as their script and the one Frakes has given his cast (courtesy of screenwriters William Osborne and Michael McCullers) is weak and clichéd at best filled with after-school-special-worthy lessons for Alan to learn. "You can't save everyone " Jeff tells his son somberly and even Tintin has a moral for her crush when he's feeling selfish and indulging in self-pity: "This is hard on all of us Alan." Talk about insight! What makes it even more frustrating is knowing that the actors are capable of much more even the kids: Both Corbet and Hudgens did well with supporting roles in Thirteen. Thunderbirds' only real bright spot is Sophia Myles as Lady Penelope. A cross between Reese Witherspoon's Elle in Legally Blonde and Jennifer Garner's Sydney on Alias Myles' Lady P doesn't let her pink couture wardrobe prevent her from coolly kicking ass when the situation demands it. Attended by her droll driver/man-of-all-trades Parker (Ron Cook) Lady Penelope is a fresh feisty heroine with all of the film's best lines -- and the coolest car to boot.
Frakes cut his directorial teeth on episodes of Star Trek: The Next Generation and his first feature film was Star Trek: First Contact so he would seem like a natural choice to bring a cult sci-fi TV show to the big screen. Unfortunately while he does an admirable job re-creating (and improving on) the original Thunderbirds' mod sets cool ships and special effects (which are fine if a bit more TV-sized than summer blockbustery) Frakes can't seem to decide who his audience is. If he was aiming at grown-ups who remember the show fondly from their own childhood he should have embraced the source material's campiness (à la Starsky and Hutch) rather than restricting it to the Tracys' plastic Barbie-like furniture and Lady P's bouffant hairdo. If on the other hand Frakes was hoping to entertain today's kids he should have really reinvented the show for a 21st-century world (à la Stephen Hopkins'1998 Lost in Space) rather than clinging to the '60s references As it is he's stuck somewhere in the middle leaving adults bored during the kids-on-an-adventure bits and children mystified by the handful of jokes aimed at their parents.
Although the film's title suggests there might be some deeply relevant British national allegory in the film post-colonialist comedy fans shouldn't get their hopes up. The plot of Johnny English such as it is goes something like this: The title character a bumbling junior-level spy (Rowan Atkinson) is suddenly thrust into active duty when every other agent in the British Secret Service is blown to smithereens during a bombing at a fellow agent's funeral. When the Crown Jewels are stolen it's up to English to discover the culprit and in the process he unearths a plot to replace the Queen of England with a French entrepreneur who has some pretty nasty real estate development plans for Merry Olde Blighty. It's a sorry excuse for a story sure but such paltry fare as plot character development and dialogue don't matter much when you connect the bits with U.K. fave Atkinson hamming it up in his trademark blundering way. And he really is funny in this movie--maybe not pee-your-pants funny but certainly hoot-out-loud funny. As with any spy spoof some of the shtick works and some doesn't but on the whole Atkinson and Co. do a good job in spite of the contrived script and pithy lines writers Neal Purvis Robert Wade and William Davies have pieced together for them.
If Cervantes' Don Quixote were a modern-day spy this would be his story. Atkinson tilts at Johnny English's windmills with the vigor and extravagance fans of the comedian's trademarked physical comedy have come to expect. Whether he's crashing a funeral pantomiming to ABBA in front of his bathroom mirror invading a hospital with guns blazing or getting his tie caught in a sushi bar conveyor belt Atkinson gives this movie's hackneyed scenes personality they probably wouldn't have had in any other actor's hands. Comedian and fellow Brit Ben Miller takes his first strokes across the pond as English's sidekick Bough playing Sancho Panza to Atkinson's Quixote to fairly good effect. The real "straight man" in this farce however is Natalie Imbruglia as love interest Lorna Campbell. The girl can't act her way out of a paper bag but when you look the way she does in leather pants and stilettos talent is beside the point. John Malkovich is underutilized as the villain Pascal Sauvage whose anti-English (that's the nation not the spy) sentiments have driven him to lay claim to the throne of England which he plans to use for nefarious purposes.
Based as it is on a character Atkinson created for a TV commercial for a major British credit card it's not surprising that the characters in Johnny English are far more entertaining when they're improvising 60-second physical comedy scenes than when they're attempting to further the so-called plot. What is surprising is that such pedigreed moviemakers as director Peter Howitt (Sliding Doors) production company Working Title Films (producers of Elizabeth Fargo and Billy Elliot) and producer Mark Huffam (The Hours) are attached to such a silly film. Then again everybody needs to let loose sometime; maybe this is their idea of a vacation.