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The Sorcerers Apprentice is the latest moving picture show about an ordinary fellow its nearly always a familiar who is, all of a sudden and to his great amazement, carted into an epoch making, supernatural struggle between good and malevolent. The fellow in question this time is the distinctly unpromising Jay Baruchel, a gangly Canadian ectomorph who got the girl (though not much of an audience) in Shes Out of My Conference and who took the sketch flying dragon in How to Power train Your Draco. Here he plays an N.Y.U. natural philosophy major referred Dave who tinkers with a jumbo Tesla coil in his ulterior research laboratory and pine trees for Becky (Teresa Palmer), a moderately music lover who was his childhood crunch.

Meantime, though, Dave has learned that he is the Prime Merlinian, which means that The Sorcerers Apprentice is not just another wonk cutie amatory comedy, but as well a surrealistic activity exposure in which bolts of lightning will shoot out of peoples scripts, and ancient magic spells will be verbalized to cataclysmal impression right on atomic number 90.

The good news, if you are not a Monica Bellucci completist, is that the rival necromancers are played by Alfred Molina and Nicolas Cage. Mr. Molina, who was perchance a bit too sensitive as Doc Ock in Spiderman 2, onsets his nefarious part, Axiom, with mustache-twirling savor. As Balthazar, Mr. Cage, having worked with the music director, Jon Turteltaub, on the popular National Treasure series, rarifies the eccentric person loudness he brought to those exposures and mixes in new flavours of wackiness. If he has not quite approached a Christopher Walken level of reverend self-parody, Mr. Cage has at least proven himself as the inheritor to Al Pacino in the dotty wise man pantheon.

But while Mr. Molina and Mr. Cage supply a criterion of well-compensated eccentricity, their childbeds finally serve to emphasise the grinding second rater of the initiative. The method of The Sorcerers Apprentice is to string up together prosy bits of account, clowning and emotion around noisy and derivative natural process sequences.