Minimally savvy students of film know to not be dogmatic about the rules with which you evaluate a new film, since a new film may break the old rules and break them well, causing you to expand your notion of what's possible in a good film. To say that I tried to stretch my appreciation for what's possible when evaluating The Safety of Objects is to entirely miss the point. In other words, this movie was not attempting to break new ground. No re-thinking of ones aesthetic assumptions is necessary. In fact, they're reaffirmed--great films inspire a sense of the possible; bad films inspire the sense of what should not be possible.
It's a movie of cloying Hallmark Card life lessons, built upon a script so weak I'm honestly astonished it got within a studio light beam's distance of production. Loose story ends abound. The film is desperately cluttered with too many characters and mini-plots in a failed attempt to remain true to the book. The characters' stories fail to elicit either viewer sympathy or comprehension, and shortly into it I found my patience severely tried. Some strong acting performances are not able to salvage this embarrassing work.
The writer/director did a likable job with "Go Fish." Let's hope this is a bump in the road.
It's a movie of cloying Hallmark Card life lessons, built upon a script so weak I'm honestly astonished it got within a studio light beam's distance of production. Loose story ends abound. The film is desperately cluttered with too many characters and mini-plots in a failed attempt to remain true to the book. The characters' stories fail to elicit either viewer sympathy or comprehension, and shortly into it I found my patience severely tried. Some strong acting performances are not able to salvage this embarrassing work.
The writer/director did a likable job with "Go Fish." Let's hope this is a bump in the road.