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It's not so much the sights but, again, a mood and attitude that Jackson botches: what is with this Asian girl that accompanies Suzie? It's explained, to be sure, as are the other victims of Tucci's child killer, but the attachment she has with her previous life and family is screwy, it becomes muddled and unsatisfying. It's more-so a problem when Jackson deals with balancing this fantasy afterworld with the real one, and the rules of how Suzie reaches out to those is never firmly established (the one girl she brushes against running down the street is one thing, her parents and sister are another). While it's not as imaginative as Jackson seems to think it is, it does reflect, more or less, what a 14 year old girl's emotional state would be in an afterlife world. And then there's the lush grandmother played by Susan Sarandon that is used for very ill-timed and unfunny comic relief midway through the movie, after which she's pushed aside to a reactionary role.Īnd yet I didn't have as big a problem like some critics have had, which is with the in-between itself and its visual scheme. On top of this the logic on Stanley Tucci's character is all-too obvious - it's a perfectly creepy performance, but a little subtlety might have helped.
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There isn't a solid 'conflict' about who the killer is since it's revealed in the first few minutes of the film. When it comes time for us to really get into the emotional grit and horror of this situation, of how horrible it really is, it's actually glossed over by Suzie's situation up in the in-between. It's not really the actors fault, as Wahlberg, Weisz and Imperioli do what they can in their roles (Wahlberg especially, in spite of everything, throws himself into the devastated father well). Another is a lack of focus in the story, and actually getting to really care about any one of the living characters. It's some of the worst use of narration last year (compare it to The Informant! and see how much of a drop-off it is).īut narration is just one thing. We see her sights in this in-between world, moving about and in quick motions without consistency, though as with Avatar one might say at least it's "pretty", and her descriptions are at best unnecessary and at worst just stupid.
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What might have been poignant observations, for example, from the girl Suzie Salmon (like the fish) becomes a series of really jagged narration in the film that is a) poorly written, b) in a continuously ineffective and/or annoying tone from Saoirse Ronan (who is not bad in the film, by the way, when the material requires it), and c) it's redundant. Maybe it's just a general attitude that Jackson and his writers, wife Fran Walsh and Philippa Bowens, take from the book. It's a giant miscalculation that has a few moments of real impact and where the performances match up with the material. It turns out Jackson takes the latter route, but there's more than that wrong here.
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It seems like the stuff that could make for some harrowing dramatic material.
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It seemed like a pretty sure thing: a book that has been very widely acclaimed and read as a work of sad life-and-death meditation from a 14 year old girl looking down or somehow from the "in-between", a kind of purgatory, after being raped and murdered, on her family and killer. I'm not sure how so much could go wrong on this film. Reviewed by Quinoa1984 3 / 10 a grand, sloppy folly for Peter Jackson, his writers