Ellington

CASEY PHILLIPS: “The Lovely Bones” is difficult to review since it mockingly defies categorization. At turns, it’s a chilling tale of a serial killer played (almost too well) by a very eerie Stanley Tucci. At others, it’s a fantastic depiction of the afterlife, perhaps the most beautiful, surreal one I’ve seen since “What Dreams May Come.” At its core, however, it’s a family drama that analyzes the gaping emotional rifts left behind when young Susie Salmon (Saoirse Ronan) is murdered.

Ronan’s performance is quite good, but the film’s best moments center on her father, played by Mark Wahlberg, who nails his character’s wounded, desperate anguish. Rachel Weisz is pretty much a throwaway as the Salmon matron, but Wahlberg and Tucci turned out stunning, memorable performances.

HOLLY LEBER: In the hands of a different director, “The Lovely Bones” would have been a much different film. Peter Jackson goes big. That’s what he does, and he certainly didn’t shy away from it here. There’s really no saying whether the movie would have been better had he chosen to show less of Susie in the Technicolor afterlife; it just would have been different.

And while I agree that Jackson’s depiction of the afterlife is indeed beautiful and surreal, so much of the film depends upon the performances. In many ways, “The Lovely Bones” is a story about fathers and daughters, and Wahlberg’s performance as Jack Salmon anchored the movie. It’s his story as much as it is Susie’s. Ryan Gosling was originally cast in the role, and while Gosling is a fine actor, I just don’t see that working as well.

And Tucci was creepy as all get out. I had a little trouble sleeping the night after seeing his calculating portrayal. Though, I might have liked to know more about his character’s background and motivation, despite being utterly unsympathetic.

CASEY: Agreed. Tucci’s George Harvey is the best depiction of a serial killer since Hannibal Lecter. And while the performances are certainly the movie’s strong points, without a fine script, they would have fallen flat. Fortunately, Jackson, his wife, Fran Walsh, and their perennial writing partner Philippa Boyens did an excellent job adapting Alice Sebold’s award-winning novel to the screen. Despite some odd omissions in explanatory material and a late-film scene that rivals “Ghost” for over-the-top ectoplasmic romance, the resulting two-hour film has wonderful rhythm and pacing.

HOLLY: There are some quibbles I have that keeps the film from rating a perfect score — some melodrama, a casting slip or two, the music, a few frustrating plot moments. But in general it was a well-done movie with visually pleasing camera work and strong, courageous performances.

CASEY: No bones about it.