On a business trip to New Orleans, a damaged man seeks salvation by caring for a wayward young woman.
Stewart’s strung-out, frowzy performance is a timely reminder that the girl can act, but despite strong work from all three leads, the facile screenplay runs out of things to say fairly quickly.
The dialogue and ponderous drama got lost even before the camera rolled.
You're welcome to them.
It's a well-made film, and New Orleans is crisply and interestingly shot by cinematographer Christopher Soos, but this ultimately looks like a TV movie dressed up for the big screen.
Director Jake Scott respects the tenderness of Ken Hixon's not-quite-believable script. Even at its most pat and sentimental, you never doubt its heart.
[Kristen Stewart] sn’t entirely convincing but then neither is this stilted, glum little drama.
Downbeat and with little to say about the grieving process, but Gandolfini and Leo are memorable. Stewart is not.
It's a preposterous story, yet for part of its duration at least, Gandolfini as the slouching, baggily dressed Doug and Leo as the reawakened wife manage to make it rather touching.
Handicapped by its paper-thin premise, even a strong cast can’t lift Jake ‘son of Ridley’ Scott’s film out of indie-by-numbers mediocrity.
General release. Check local listings for show times.