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Foodie fiction has become a veritable genre, devoted to deliciousness, to making your mouth water, to making you feel suddenly, irrevocably starved — and to making everything, sprouts and bologna included, an aphrodisiac. But what happens when enough is enough? Or when, perhaps, you're on a diet, or a deserted island, or attempting celibacy, or learning to live without gluten? What happens when you're hungry for the kind of fiction that concerns food but isn't in love with food — and thereby won't make you hungry, or lustful, or both? If you'd like a peach tart not to be compared to a summer's day, or not to be turned on by descriptions of aubergines, or are alarmed by the suggestion that a relationship with onion rings can stand in for a relationship with a living, breathing, friend, devour these books. And feel full.

All of this may undermine Kon-Tiki's value as an educational tool, but there's no denying its status as a rousing and thoroughly enjoyable Old Hollywood-style adventure. Little time is wasted on exposition; the filmmakers efficiently use a brief prologue on an icy Norwegian pond to establish Heyerdahl's status as an innate adventurer before rushing through his fundraising difficulties in order to get to the meat of the story: six men and a parrot facing death and despair on the high seas.

To their credit, the filmmakers do attempt to dig a little deeper than just that, trying to convey the righteous obsession and complicated motivations of the explorer. Heyerdahl eventually finds his funding after appealing to the vanity of the Peruvian president, and the film exhibits an ongoing interest in explorers driven by quests both noble (for knowledge) and vain (for immortality). Heyerdahl himself is spurred on by a near-religious faith in the guessed-at methods of the ancient mariners, which that first-mate character writes off as an insane obsession.

The more meaningful character explorations never quite coalesce, alas, mostly because the filmmakers are more interested in — and far more skilled at — the high-tension thrills they're manufacturing. It's difficult to blame them, given that their take on the trip is probably far more entertaining than a more realistic one. As one magazine publisher, reluctant to engage in what he sees as sensationalism, tells Heyerdahl, "Doubtless the story of Norwegians drowning in the Pacific will sell a lot of magazines." What's true for magazines is also true for movie tickets.

All of this may undermine Kon-Tiki's value as an educational tool, but there's no denying its status as a rousing and thoroughly enjoyable Old Hollywood-style adventure. Little time is wasted on exposition; the filmmakers efficiently use a brief prologue on an icy Norwegian pond to establish Heyerdahl's status as an innate adventurer before rushing through his fundraising difficulties in order to get to the meat of the story: six men and a parrot facing death and despair on the high seas.

To their credit, the filmmakers do attempt to dig a little deeper than just that, trying to convey the righteous obsession and complicated motivations of the explorer. Heyerdahl eventually finds his funding after appealing to the vanity of the Peruvian president, and the film exhibits an ongoing interest in explorers driven by quests both noble (for knowledge) and vain (for immortality). Heyerdahl himself is spurred on by a near-religious faith in the guessed-at methods of the ancient mariners, which that first-mate character writes off as an insane obsession.

The more meaningful character explorations never quite coalesce, alas, mostly because the filmmakers are more interested in — and far more skilled at — the high-tension thrills they're manufacturing. It's difficult to blame them, given that their take on the trip is probably far more entertaining than a more realistic one. As one magazine publisher, reluctant to engage in what he sees as sensationalism, tells Heyerdahl, "Doubtless the story of Norwegians drowning in the Pacific will sell a lot of magazines." What's true for magazines is also true for movie tickets.

This may not add up to quite what you think, though. With the kidnapping of an American professor in the opening scene in Lahore, The Reluctant Fundamentalist positions itself as a thriller. Yet it's framed as a teahouse conversation between Changez and Bobby (Liev Schreiber), an American journalist with his own conflicts of loyalty and belief. As a student protest against a repressive Pakistani government gathers steam around the two men, heavily monitored by the CIA, it's Bobby who must listen to Changez's story — all of it, the young Pakistani insists.

With author Hamid's help, Nair and her co-screenwriter, William Wheeler, have ironed out some crucial ambiguities in the novel's account of the uneasy relationship between the two men. In the book, the identities of both remain tantalizingly undefined; in the movie we learn early on that Bobby is an ambivalent CIA operative, torn between his sympathy for the protest movement and his growing conviction that the United States has a role to play in the war-torn region.

The changes work fine for dramatic purposes, and Nair adroitly manages the tension between talk and action. Darting back and forth in time and place, between Lahore and New York (Atlanta, actually, but you'd never know) she unfolds a tale of a man trying to find home in two key global cities, each with a vibrant culture of its own.

Nair likes to have fun even when her material is somber, and for this movie she deploys a rich palette and a multi-culti but mostly kitsch-free score that fuses old and new with a lovely Sufi devotional piece, and is peppered with Pakistani pop. She indulges her sensual side with a wedding, as well as a cheeky turn by Pakistani singer Meesha Shafi as Changez's America-obsessed sister.

Who is Changez? "I am a lover of America," he tells Bobby as he begins and ends his story. Yet he also loves his birthplace with equal fervor and critical scrutiny, and suggests the two countries have more in common than meets the eye. The word "fundamental" pops up just twice, once from the mouth of Changez's go-for-broke capitalist boss, and again from a newly radicalized Changez.

Like Hamid, Nair sees more hope than threat in the fractured identities that increasingly dominate our fluid world. But she won't go all the way with him to disturb our media-fed pieties. When Changez recounts his immediate response on seeing the planes plow into the World Trade Center, Bobby is shocked. I was too.

Yet in context, this is less an assertion of malice or callousness than a surge of reflexive anger toward a nation that has rewarded his efforts to become a model citizen with only the most contingent acceptance. Attention must be paid — so it's a pity that at the end, in a departure from Hamid's enigmatic restraint, The Reluctant Fundamentalist collapses in a heap of wool-gathering humanism that feels warm to the touch, yet fatally hedges its political bets.