Bless me Father, for I have sinned: I enjoyed myself at this movie!
As A.O.Scott put it, Dan Brown's work is an offense, not against the Church, but against the English language! Luckily, Ron Howard and company have learned from their $200 million-grossing mistake of The DaVinci Code, and corrected all of the missteps that doomed that wet noodle of a summer blockbuster. Gone are the tiresome disquisitions on the beginnings of Christianity, the forced and awkward romantic moments, the self-flagellating villain (although I missed him in the sequel: the A&D assassin looks more like a disaffected grad student studying in Rome than a fanatically religious psychotic).
But it is the lead, symbologist Robert Langdon, who has undergone a stunning transformation: instead of a paunchy, middle-aged prof wheezing around Paris, London and northern England, Tom Hanks is actually 'buff' (the first scene shows him swimming laps in the Harvard pool at 5am!). His new exercise regimen will pay off over the next two and one-quarter hours (fifteen minutes too long for this movie, by my count).
Director 'Opie' takes us on a whirlwind tour of Rome's holiest sites in the five-plus hours Langdon spends in the Eternal City (Rick Steves himself would not have been able to keep up!) Amazingly, not a frame of this movie was shot in Vatican City -- the interiors and exteriors of St. Peter's Square came from a computer!
The screenwriters deserve credit for glossing over the nonsensical aspects of the plot -- (the sooner they skip over the anti-matter Maguffin, the better) -- to focus on the chase, while sprinkling in art and religious history in small doses(compared to the deluge of imprecise conjecture in The DaVinci Code). They also scrap any attempt at a love interest for Langdon: a wise move, since the luscious Italian scientist who is his foil possesses zero charisma on the big screen (but she must be a good actress, because this Italian lovely is actually an Israeli -- Ayelet Zurer).
Howard had the best of Hollywood at his disposal (supporting actors, screenwriters, costumers, musicians) and they all delivered the goods: I was surprised by the last revelation in the plot ... and I read the book! (proof positive of its forgettableness).
THE GIRLFRIEND EXPERIENCE
(digital video: 2009)
It's more of an experiment than an experience, this third of Soderbergh's forays into shoestring budget indie pics, after "Bubble" and "Full Frontal"--two films I refused to see because 1) I hate digital video, and 2) the previews looked so BAD!
When I am wrong, I'm wrong: in the hands of a master like SS, the digital video is at times as lush and deep as film (David Lynch didn't have such luck with his digital effort, "Inland Empire"). I freely admit that SS is a master -- you see an assured director's hand in every frame. Despite its other flaws (many, see below), the movie is always watchable--just to see what the director has up his sleeve.
They do handicap this film (especially the acting). It amuses me that every review describes the lead, Sasha Grey (the 'Porn Star' that the title to this post promised) as "the only professional actor in the movie." Oh, she's a professional alright -- just not in acting (I'm saying this based on my very limited exposure to pornographic films ... I haven't seen any of Ms. Grey's previous work, although I feel compelled to rent one in the interest of writing a fair and knowledgeable review).
Her acting style can be charitably described as 'flat' and 'unaffected.' Surprisingly, that is exactly what the role calls for! As a high-priced New York City call girl, she is exactly what her clients* want: a young knockout (with a great fashion sense!) who is smart enough to pretend to have an opinion, but even smarter to know when to defer to the wiser, older client who likes to hear himself talk.
*older men who can spend several thousand dollars a night for a 'girlfriend'
