Starring: Saoirse Ronan, Mark Wahlberg, Stanley Tucci
Directed by: Peter Jackson (“King Kong”)
Written by: Peter Jackson (“King Kong”), Fran Walsh (“King Kong”) and Philippa Boyens (“King Kong”)
Oscar-winning director Peter Jackson (“The Lord of the Rings” trilogy) tries his hardest to switch gears after nine years of big-budget epics and tell a more sentimental story with “The Lovely Bones.” Based on the bestselling novel of the same name by Alice Sebold, Jackson strikes quickly with an intriguing first act before any real emotional intimacy is washed away by delusions of grandeur.
In “The Lovely Bones,” actress Saoirse Ronan (“Atonement”) plays Susie Salmon, a sweet and intelligent 14-year-old girl with her whole life ahead of her. Not only is Susie an aspiring photographer, first love may also be on the horizon.
But when walking home from school one day, Susie’s life is brutally taken at the hands of George Harvey (Stanley Tucci), a reclusive and odd neighbor who lives down the road from the Salmon home. Once murdered, Susie’s soul travels into a state of limbo and settles there even long after the horrific crime.
While in the “in-between,” as her little brother so nonchalantly identifies her place in the universe, Susie watches her family including mother (Rachel Weisz) and father (Mark Wahlberg) struggle with the loss of a child. She also watches Mr. Harvey as he goes on with each day trying to confine the killer instincts inside him. As months pass, Susie continues to look over them all from her visually-stunning playground, which is reminiscent of the Oscar-winning special effects of 1998’s “What Dreams May Come.”
Despite the majestic imagery poured on by Jackson during these scenes, “The Lovely Bones” is showier than it needs to be and pulls some much-needed attention from what should have been a more heartfelt narrative. Instead, the film ends up becoming something as pretty and flat as a watercolor painting.
Because of Jackson’s inability to understand more than what a graphic artist can render on a computer, the characters in “The Lovely Bones” suffer greatly. Wahlberg and Weisz are not left with much to build on besides the tragedy itself. There comes a point in the film where this terrible murder feels becomes insignificant to the story. This is because Jackson and the rest of his writing team refuse to let the audience into anyone’s head. Lingering shots of the family starring peculiarly at the home of Mr. Harvey don’t cut it.
With chaotic variations in tone throughout “The Lovely Bones,” Jackson misses an opportunity to show a more delicate side to his visionary talent. It’s disappointing that he couldn’t quite let go of his bulkier ideas to stay on the task at hand.