Based narratively as closely as the limitations of the medium will allow on Audrey Niffenegger's phenomenally successful novel about a man who keeps disappearing and finding himself in another part of his life, this goes more explicitly for the romance angle. This is a wrong turn: while the original plot was clearly a reworking of Slaughterhouse-Five, it wasn't without a point in that it replaced the autistic metaphysics with a more universally accessible anguish. Here, this is replaced with an overpowering soundtrack and the blandly pretty Rachel McAdams weeping a lot as the chrononaut's hard-put-upon wife. Eric Bana does make for a watchably stoic lead and it is possible to sympathise with the couple's predicament, but something is lost is the slush: just being able to sympathise is no great shakes.Overall, it's no disaster, but probably far more palatable to those not familiar with superior examples of the 'great love scuppered by temporal disparity'-genre such as, oh, Somewhere in Time, to pick one out of a hat.
5/10
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