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. It seems like the stuff that could make for some harrowing dramatic material. 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 If Susie is able to let go, she may learn that she and her fellow travellers have a higher purpose in needing to move forward. But Susie seems somewhat determined to try and lead those that can feel her presence to the fact of George being her murderer, especially when his next potential victim seems to be Lindsey.
However, another young female who Susie meets in her current location tells Susie that she must advance forward to the next step. Another neighborhood girl, Ruth Connors (Carolyn Dando), who most deem weird, is also able to feel those in the hereafter, including Susie. Indeed, Susie, currently in-between heaven and Earth, is looking over her family, as well as Ray. Her father, Jack Salmon (Mark Wahlberg), cannot let go of ever finding out what happened to her, although he, along with their two other younger children, Lindsey (Rose McIver) and Buckley (Christian Ashdale), feel like they can occasionally feel Susie's afterlife presence. Her mother, Abigail Salmon (Rachel Weisz), is not dealing with her death well, keeping her bedroom as a sealed up memorial. She died without ever getting her first romantic kiss. In telling the story, Susie does not remember the exact method of her death or where her body is located, which the authorities do not find, but who have evidence that Susie is most likely dead.
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If she was not preoccupied with these thoughts, Susie believes she would have noticed or felt the creepiness of neighbor George Harvey (Stanley Tucci), a serial killer of females of all ages who ends up murdering her. That year, special things going on in her life were the beginning of her aspirations to become a wildlife photographer, and her burgeoning romantic feelings, seemingly reciprocated, for senior British transfer student Ray Singh (Reece Ritchie). Susie Salmon (Saoirse Ronan) of Norristown, Pennsylvania narrates a story that begins in 1973, when she was a typical fourteen-year-old in a loving family to which no bad things ever happened.
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