Film fails to bring out the best in Dickens

It's unfortunate that such a vast group of colorful characters found themselves trapped within the confines of an obvious plot, otherwise audiences may have greatly enjoyed the time they've spent with them. "Nicholas Nickleby," a movie about the coming of age of the title character, is a film with wonderful characters, actors, costumes and spirit -- all of which are bogged down by a predictable storyline.\nNicholas (Hunnam) is a good-hearted 19-year-old. When his father dies, he takes his mother and younger sister to his rich uncle Ralph (Plummer), who gets Nicholas a job at an orphanage. The headmaster and his wife are a wicked pair who keep the boys malnourished and beat them whenever they deem it necessary. For one young crippled boy named Smike, they deem it necessary more often than not, until Nicholas steps in, stands up for the boy, and gives the headmaster a beating of his own. Good Smike was unreasonably punished by the Evil Headmaster, so Good Nicholas does the good deed and saves him. A good story in real life, but too predictable when put on screen. \nThroughout the movie, evil forces conspire against Nicholas and his loved ones, while better forces help Nicholas combat them. The headmaster kidnaps Smike, and a village man helps Nicholas rescue him. Nicholas falls in love and evil Uncle Ralph gets her father, who owes Ralph a debt, to marry the girl off to another man. The debt is called off, all of the evil men are happy, and Nicholas must figure a way to get her back. And wouldn't you know it: he gets her back.\nThese kinds of stories with overtly good and evil characters require some plot twists, music, comedy or action to keep them interesting, and indeed the film's best scenes are the comedic ones. Nathan Lane is wonderful as the head of a traveling theatre, who gives Nicholas the part of Romeo, Smike the part of the Apothecary, and tells a hilarious anecdote about an alcoholic pony. But Lane is only in the film for twenty-five minutes, and then it is back to Nicholas fending off the bad deeds of bad men. The film tries to right itself in the final ten minutes with a sudden "twist" where one character discovers a connection with another character, but by that point, who cares? Perhaps hardcore Charles Dickens fans will be swept away by the spirited mix of characters, but for my money, I'll take "Oliver"