In New York City, Telly Paretta has been under the psychiatric care of Dr. Jack Munce for fourteen months, the therapy to help her deal with the grief associated with losing her nine year old son, Sam Paretta, one of six children in a plane that went missing, the plane and the bodies never recovered. In the words of Telly's husband, Jim Paretta, Telly has been holding onto the past like a "death grip", which has hindered her therapy. Telly does not appreciate that characterization as it makes it sound like Dr. Munce and Jim want her to forget Sam. Slowly, incidents make it seem like Telly is losing that grip on the past, until one day all physical evidence of Sam disappears, personal as well as public, such as all media stories of the plane disappearance. Subsequently, Jim and Dr. Munce try to explain to her that her therapy is to help her get over the delusion that she and Jim have/had a son. As Telly alone goes on a search for any evidence of the existence of Sam, the only person ... Written by
One of the NSA agents' name is Al Petalis. Petalis is Latin for petal (as in flower petal). Rose petals are traditionally a symbol for love and devotion and can also be a symbol of motherhood -- the two main themes of the movie. See more »
The seedy NYC motel has illuminated 'Motel' signboard at the left and vending machines on either side of the entrance doors, yet in the morning (aerial shot) they are missing. See more »
So many good ingredients, it's a pity the film isn't better...
Screenwriter Gerald Di Pego comes up with an interesting new slant on a well-trodden movie idea: grieving woman is obsessed with the child she lost to a plane crash, and refuses to accept it when her husband, neighbor, and psychiatrist all tell her he never existed. Conspiracy thriller with science-fiction overtures steps a little bit into "Close Encounters" territory, but manages to hold the viewer with strong individual scenes and a lovely, matter-of-fact lead performance by Julianne Moore. However, the editing goes slack by the film's midsection, with Moore constantly on the run and Di Pego's script scrambling to explain itself whilst keeping the audience in suspense. It's a gambit which doesn't quite pay off. Supporting characters played by Anthony Edwards and Alfre Woodard are unceremoniously shafted, while the tepid final act (more running) leaves a bushel of unanswered questions and unrealized ideas behind. The chilly cinematography (grayish blues and whites) is artsy and distracting, and the overall result smacks of too many cooks. **1/2 from ****
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