Finally a brilliantly told fractured fairy tale for children and adults alike that does not feature a grouchy green orge anywhere. Once upon a time a young man sneaks into the mysterious magic kingdom of Stormhold that’s walled off from his quiet English village. He soon meets a lovely young lady who just so happens to be a princess enslaved by a not-so-wicked witch. Nine months later a basket is dropped on his doorstep. Yes this baby boy is the unexpected result of his one-night liasion with the royal lass. The boy grows up blissfully unaware of his regal roots so when he reaches manhood Tristan (Charlie Cox) doesn’t understand why he so drawn to the land on the other side of the Wall. He finally hops over the Wall when a star falls out of the sky and lands deep in the heart of Stormhold. His goal: to bring back the star as proof of his love for Victoria (Sienna Miller). Too bad this scheming temptress doesn’t think too much of the penniless and mild-mannered workingclass stiff. This being a fairy tale the star isn’t just a star. The star’s actually a beautiful celestial being named Yvaine (Claire Danes). And she fell to earth as part of a devious plan by Stormhold’s dying king (Peter O'Toole) to determine his successor. But the king’s scheming sons (Jason Flemying and Mark Strong) are not the only ones seeking Yvaine. The oh-so-wicked witch Lamia (Michelle Pfeiffer) needs Yvaine to help her restore her youth. So that means Tristan must become the hero he’s destined to become—and take on witches princes airbourne pirates (Robert De Niro’s Capt. Shakespeare) and shady black marketeers (The Office’s Ricky Gervais)—so he can return home to Victoria. But Cupid has other plans for Tristran and it’s not hard to guess what those are. If all stars took on the human form of Claire Danes many more of us would probably pursue a career in astronomy. But it doesn’t take a working knowledge of the Hubble telescope to see how relaxed and luminous Danes is when she’s not carrying the weight of the world on her shoulders. And sparks definitely fly between Danes and Charlie Cox even when they’re at hurling hilarious insults at each other. Newcomer Cox makes a smooth transition from ill-at-ease lovesick puppy to swashbuckling hero. He also doesn’t seem to be intimidated at the prospect of staring down Robert De Niro. There’s always concern whenever De Niro takes on a comedic role for a big paycheck. He usually gets by with pure talent and nothing more. And when De Niro’s pirate crosses paths with Cox and Danes you immediately fear that he’s going to offer yet another variation on his tough gruff Alpha males from Analyze This and Meet the Parents. But he blindsides us by instead going all Jack Sparrow on us—that is if the old sea dog had no interest in the ladies—to deliriously campy effect. What with Hairspray and now Stardust Michelle Pfeiffer’s comeback seems to be predicated on getting in touch with her inner bitch. She’s splendidly nasty and scary as Lamia. And the uglier and older she gets the meaner and funnier she gets. Equally cruel—though more cheerfully so—is Sienna Miller. Providing small but amusing cameos are Gervais once again revealing an unparallel mastery of toadying and Peter O'Toole who kicks the bucket quicker than John Cleese’s King Harold does in Shrek the Third. There’s legitimate reason to question whether Layer Cake director Matthew Vaughn has what it takes to direct a big-budget effects-driven summer blockbuster. Remember after making his name producing or directing relatively inexpensive British crime capers Vaughn walked away from X-Men: The Last Stand. Judging by Stardust though Vaughn would have done a masterful job leading those misunderstood mutants into battle. Then again he couldn’t have done worse than Brett Ratner. Based on the graphic novel by Neil Gaiman and Charles Vess Stardust possesses both a big heart and an uncommon adventurous streak. Unlike the recent Pirates of the Caribbean: At World's End which was too long and too cumbersome for its own good Stardust moves nimbly and confidently through a strange and wonderful land populated with noble heroes to cheer for fiendish villains to boo at and gorgeous damsels in distress to sigh over. Vaughn keeps us on the edge of our seats whenever Tristan must think or fight his way out of danger. But he invests as much time in making believe that Tristan and Yvaine are made for each other. He also strikes a fine balance between honoring the sword-and-sorcery genre while playfully sending up its many cliches. The humor’s a lot more risqué than the bedtime story that was The Princess Bride but most of the sexual innuendoes will zoom over the heads of those still too young to pick up on many of Shrek’s pop-cultural references. Clearly Stardust cannot escape all other comparisons to The Princess Bride but Stardust boasts more than enough magic and daring-do to win over those who remained enthralled to this day by Cary Elwes’ brave efforts to rescue a kidnapped Robin Wright Penn. So this is one fairy tale that richly deserves its happily ever after--and for that matter so does Vaughn.
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.