The Count of Monte Cristo is a 2002 film based on the novel of the same name by Alexandre Dumas. It stars Jim Caviezel as the title character, and also Guy Pearce, James Frain, Luis Guzman, and Richard Harris.
This film provides examples of:
Adaptation Distillation: Inevitably given its size, large swathes of Dumas' novel are omitted or trimmed. Prominent characters such as Caderousse, Haydée, Franz d'Epinay, Benedetto, Bertuccio and Ali are also omitted.
Antagonistic Offspring: Albert confronts Dantes, though neither of them are aware of the relationship at that time.
Anti-Hero: Edmond, as The Count, starts off as a Nominal Hero, only heroic at all because he's using his deplorable tactics to gain vengeance on the men who condemned him to false imprisonment. However he graduates to Unscrupulous Hero at the end when he remembers his mentor's words and offers Mondego the chance to leave with his life. He doesn't take it.
Beardness Protection Program: The Count trims his prison beard as part of his noble disguise. Noteworthy because of how effective it is. Upon returning to exact his revenge, Dantes is able to fool Villefort (who admittedly only met him once), his longtime employer Morrell and his lifelong friend Mondego. Only Mercedes recognizes him. Mondego actually doesn't recognize him til he shaves.
No Doubt The Years Have Changed Me: Besides having an entirely different body build and almost certainly having somewhat changed the shape of his face (losing pretty much all of your body fat will do that), the dark, dangerous, and self-assured Count also doesn't speak, move, or act anything like gentle, sweet, nervous Edmond Dantes.
Call Back: How Mercedes realizes that the Count is Edmond, given his habit of twirling his hair.
Chess Motifs: Edmond and Fernand have a chess king that they trade back and forth when the other has a victory, recognizing the other as "King of the Moment". Edmond explains this to Napoleon Bonaparte, who observes that "In life, we are all either Kings or Pawns."
This becomes Foreshadowing for later, when Fernand refuses to give up the king piece to Edmond after Mercedes accepts his proposal. Fernand soon after makes Edmond a pawn in his machinations.
Death by Adaptation: Clarion, who is Villefort's father. It was something of a running gag in Dumas' novel that he was virtually indestructible.
"You didn't think I'd make it that easy for you, did you?"
Do Not Do This Cool Thing: Remember kids, vengeance is bad. This film will demonstrate that although it appears to be totally awesome, it's nevertheless very, very bad.
Earn Your Happy Ending: After being betrayed by his jealous friends on the eve of his wedding and condemned to spend years in a dungeon by a self-serving prosecutor, and then learning that his grief-stricken father committed suicide and his beloved fiancee married his enemy, Dantes would be forgiven for feeling on top of the worldas he left the Chateau d'If for the last time with his true love, his son and his best friend at his side, the vast Spada fortune in his possession, and having exacted sweet revenge on his betrayers.
Hollywood Atheist: Dantes loses his faith on account of his unjust imprisonment (and then regains it at the end of the film). This is a contrast to the novel, in which Dantes is still religious as the Count — he just worships a very vengeful God.
Particularly fun as Jim Caviezel is a very devout Christian, and is best known for playing Jesus in The Passion of the Christ.
Human Ladder: The priest asks to stand on Edmond's shoulders to see out a window for the first time in decades.
Meaningful Name: Abbé Faria ("The Mad Priest"). Notable in that since he hasn't had a conversation during the length of his entire sentence in the prison, he must have given this name to himself.
Mentor Occupational Hazard: Faria dies in prison after years of helping Edmond dig a tunnel and educating him in the arts and in combat. But his death provides Edmond with a quicker means of escape by taking the place of his wrapped-up corpse.
Modesty Bedsheet: Mercedes gets one. Justified in that she's concealing her naked body from the manservant of her lover, and not her lover himself. Averted in that once said manservant gives her favorable news, she suddenly cares not for preserving her modesty.
Never Learned to Read: The first thing Faria has to teach Dantes, though he could already read in the book.
Physical Scars, Psychological Scars: The scars on Edmond's back that he received from being repeatedly lashed in the Chateau D'If represent how his time in prison embittered him.
Pragmatic Adaptation: Many aspects, including the relationships between major characters and the ending, have been changed, simplified, or removed; and action scenes have been added. The main themes of the story are intact. Given that this is an adaptation of a 440,000+ word novel, this is probably for the better.
Rags to Riches: Dantes, who progresses from second mate of a trading ship to the wealthy Count of Monte Cristo.
Sarcastic Clapping: Abbe Faria does this when Dantes realizes the reason Villefort burned the incriminating letter and imprisoned him right after acquitting him of the charges.
Sauna of Death: A scene with Villefort and the Count takes place in one of these.
Spotting the Thread: Mercedes realizes The Count is Edmond when he twirls his hair the same way he used to.
Tired of Running: After Fernand shoots Mercedes, he turns tail to run, mounts his horse and escapes at full gallop. However, after less than a minute, he pulls up and takes a moment to stare at the horizon, remembers his station, turns around, draws his sword, and shouts his challenge.
Fernand: I couldn't live in a world where you have everything and I have nothing.
Took a Level in Badass: Edmond is a hapless, uneducated merchant sailor when he is arrested; he returns to Marseille as an educated, erudite, swashbuckling nobleman.