In 1928 Los Angeles, Christine (Jolie) is a single mother whose 9-year-old son Walter (Griffith) goes missing. She struggles with what she sees as police inaction, but this is nothing compared to what comes next: the cops give her another boy (Conti), claiming he's Walter. And when she protests, the chief (Feore) and captain (Donovan) commit her to a mental hospital rather than admit their mistake. But a local preacher (Malkovich) takes her cause, and Christine won't let it go.

Frankly, this feels like a bloated Ron Howard film (indeed, he's one of the producers): a terrific story that could have been an excellent movie if it was leaner and sharper, rather than stretched out through rampant overstatement and sequences that aren't strictly necessary. This has the effect of watering down Jolie's solid performance through overexposure, as if the filmmakers want to make her jump through every hoop imaginable. And it also leaves us more interested in the production design than the characters. Especially since the villains are all broad, one-note monsters.

The look of the film is seriously interesting, from the opening effects shot of L.A.'s 1920s skyline to the Red Cars on the streets and an immaculate attention to detail in costumes, cars and buildings. But the simple fact we're so interested in all of this set dressing is a big, big problem. A good film would make these things fade into the background where they belong. This movie simply can't keep us interested in the story because it's so flatly told.

That said, the momentous events themselves are truly fascinating. Christine's odyssey is absolutely horrific, and the way she stands up to the sexist, corrupt system is powerfully inspirational. But it would have been much stronger without all of the sideroads, following the investigation into a serial killer (Harner), and his subsequent trial, which runs alongside Christine's own case. Even though it's relevant, it badly saps the energy from the central story, leaving us to merely admire the scenery rather than take righteous action.

themes, language, violence

28.Oct.08