Charlie St. Cloud

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It's easy to see what Zac Efron chose this production as the first film where he'd really get to stretch his dramatic chops. In fairness, 17 Again was a lot of fun and proved he could carry a film on his own, while Me and Orson Welles saw him work with genuine indie helmer to mildly successful effect. Here, he's in sombre, ponderous mode as a young man who loses his younger brother in a tragic car accident that he was involved in. Whilst ostensibly a challenge to the fledging movie star, Burr Steers uneven direction and a muddled script veer the film way off course.

Efron is titular character Charlie St. Cloud, a great brother and son, as well as a promising student and sailor, he seemingly has an incredibly fulfilling life ahead of him. However, one night while out driving, he and his younger sibling are in a car accident that results in the tragic demise of his brother. Struggling to come to terms with his death, he promises to meet him at the same place every day and partake in a game of catch - just as he swore he would before the accident. But Charlie's dedication to his brother, even in death, has put his own life completely on hold.

Choppy, sloppy and generally all over the shop, the tone here may be firmly whimsical, but the story really doesn't suit it. There was potential for heart-tugging emotion and a wholly sweet tale if pushed down the right path; but Steers just lets the film fragment, and move off in too many different directions, never concentrating in a particular subplot for long enough for it to register. Charlie almost dies himself, and there are brief, but crucial moments between him and Ray Liotta's medic that feel skimmed over, despite their obvious importance. Ditto for Kim Basinger's mother, Donal Logue's sailing coach, and anything resembling substance for love interest, Amanda Crew.

The superstar-in-waiting does his best, and some earlier scenes between Efron and youngster Charlie Tahan are the most effective in the entire movie - with the two easily bought as siblings. He's just resorted to looking pretty but pensive by Steers too many times for the film, or his performance, to work dramatically.

Efron has the charisma and talent to scale superstardom proper, but he needs to be fussier about his choices of script, and director to really ensure longevity.