‘Prince of Persia: The Sands of Time’ – Let’s get this franchise started, already

It’s hard to deny the overwhelming force behind “Prince of Persia: The Sands of Time.”

Uber-producer Jerry Bruckheimer, the man who made Johnny Depp into a box office star at long last via the “Pirate” pictures, appears hell bent on adding to his franchise roster.

He’s made sensitive actor Jake Gyllenhaal buff up to play our hero, threw millions into the lavish effects and even crafted a title perfectly suited for future sequels.

Let me speak for my fellow film goers when I say, “Uncle!”

That doesn’t mean “Prince of Persia” is a rollicking ride, or even worth a half dozen sequels. It’s just scientifically engineered to hit all the appropriate quadrants and pave the way for more, more, more.

Resistance will likely be futile.

“Persia” casts Gyllenhaal as Dastan, the adopted son of the Persian King whose army just swept into a parcel under the assumption it was manufacturing weapons to use against it.

Sound familiar?

Said King is murdered early in the film, and the blame falls inexplicably on Dastan.

The story has to kick into gear somehow, right?

So off Dastan flees along with the comely leader of the occupied country (Gemma Arterton of “Clash of the Titans” remake).

Blockbuster style action ensues, along with the titular “Sands of Time” which comes in the form of a sacred dagger. Push the dagger’s button – and who knew daggers even had buttons? – and time goes in reverse.

Gyllenhaal won’t make anyone miss Sylvester Stallone, Bruce Willis or other action actors before them, but he’s perfectly acceptable here as the muscular lead.

Ben Kingsley, wearing the trademark goatee of the wicked, plays the Ben Kingsley role like few others can. And Alfred Molina adds spice in a small role as a tax-averse merchant.

The film’s attempts at political commentary are quick and easy to ignore. from the missing weapons of mass destruction to Molina’s Tea Party style rants.

There’s a franchise to boot up here, and the film goes about it with workmanlike efficiency. That means an effects laden ending, a dash of clumsy flirtation between the leads and an ending that makes audiences beg for more.

With “Prince of Persia,” the latter won’t necessarily be the case. But the thought of more “Time” with these heroes isn’t too awful to contemplate.