Invariably it is a mistake to expect too much from a movie, but restraint remains difficult for highly anticipated releases. Such is the case for The Kite Runner. The well intentioned narrative illustrates life in Afghanistan over the past three decades with a largely effective Middle Eastern cast and outstanding set design constructed in the mountainous region of China bordering Afghanistan. A political backdrop that takes us from the Russian invasion to Taliban terror virtually immunizes The Kite Runner against criticism, but I came away disappointed that Forster’s film fails to rise above a Dickens-like tale of betrayal and redemption. For a stronger film critical of the Taliban, check out Siddiq Barmak's Osama.

I've not read the novel, but when discussing the film with a friend who's recently finished the book, it’s apparent that Foster remains close to the source material; thus, fans of the book likely will enjoy the melodrama more. They'll bring awareness of the characters and nuances that aren’t adequately conveyed through the film. Main protagonist Khalid Abdalla (as adult writer Amir) does his best to portray his conflicted character, but his stilted acting remains unconvincing—too forced to come across as authentic. In contrast, a far more relaxed Homayoun Ershadi (A Taste of Cherry) paints a more fascinating and sympathetic character as Amir's father Baba. A flawed intellectual who initially appears cold and indifferent and has no use for the hypocritical mullahs, Baba personifies bedrock principles that guide the story through a minefield of conflicts as he desperately transitions from prominence in Kabul to surviving as a gas station attendant in Freemont, California. More focus on Baba would have made a stronger film, but that would have strayed too far from the novel.

The film divides into three sections. Beginning in San Francisco in 2000 and flashing back to the Bay area in the late 1980s and Kabul in 1978, most of the narrative dwells on 12-year old Amir's last weeks in Kabul where he (Zekeria Ebrahimi) and his buddy/servant Hassan (Ahmad Khan Mahmoodzada) run kites freely through the streets. As the preeminent kite flyers of the city, the boys' competitive kite sequences form the most visually stunning scenes and memorable scenes of the film—for good reason since the kite bridges a communications chasm in the end. Brightly colored kites soar above the tans and browns of Kabul while dozens of boy dart and duel across the rooftops while striving to cut the strings of the others.

Hassan especially excels at predicting where kites will land once freed, running to the spot and awaiting while others futilely chase after it. A teen thug named Assef envies Amir for his kite skills and young servant buddy, so he becomes a natural villain. Highly literate and sensitive, the upper class Amir excels at telling stories while the maligned lower class Hazara boy faithfully supports his friend. Most of the screen time is given to Amir’s pre-teen years—blissful days of innocence until jealousy clouds his vision, causing him to commit an odious act of betrayal that changes his destiny.

Projecting his own weakness on Hassan, Amir challenges his young friend to fight back when he pummels him with pomegranates. Instead, Hassan deliberately picks up the red fruit and smashes it against his own face—an act destined to haunt Amir forever.

The Kite Runner works well enough as morality play, and works best during Amir's childhood portion—perhaps because child actors aren't expected to demonstrate mature acting skills. Forster wisely casts children who come across quite naturally and sympathetically. The two boys' scenes stand out significantly, as do many of the scenes featuring Homayoun Ershadi as noble and humanistic Baba. So when I think back on it, my greatest disappointment rests with the less impressive work of Khalid Abdalla as the adult Amir. As the film opens, he receives a phone call telling him, "You should come home. There is a way to be good again." I wish that Forster had worked more with Abdalla to get a better performance.