This movie has been savaged by the well-meaning and those who don't know well
what they mean.
What are 'the Lovely Bones?' Ah, now the answer to that will take a fair viewing to sort out. And the closing paragraphs from the lips of Susie Salmon will mean nothing to the viewer without the story that precedes it.
What of all the talk of Heaven? There is no Heaven here - just the longing for one. We peek over the rim from Neverland at the very end, but since we're not supposed to go there, we're not allowed more than a glaring obscurity. Some criticize the imagination of Peter Jackson for bringing us a techno-color CandyLand, all sugary sweetness and no nourishment. But that complaint completely misses his genius. This is Susie Salmon's time of bright shadows, not Peter's. Ripped from a world of polyester, psychedelic daisies and David Cassidy posters, we're entering a very different inner world than
our 'today.' It's one of a 14-year-old young lady of the 1970s. It is groovy and timeless. Yet the horrors that preceded it bust in with alarming rudeness proving this is no Nirvana. Just when we've grown accustomed to this playground and think it will resolve, it crumbles to dust. As it must. It was never meant to be something of substance. Susie's looking glass is the quick blog of a soul beginning a much larger adventure. A tweet from the unending song.
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