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Granted, neither the over-artistry nor the narrative structure inconsistency is all that considerable, it's just that the problems feel emphasized by the atmospheric cold spells, of which there are many, for although the limp spots are rarely, if ever all that dulling, they retard pacing, while thinning out resonance to the point of tainting the film with extended periods of genuine uncompellingness. The film will often follow a more controlled and traditionalist storytelling path, but then take a break to be driven by those long, artistic meditations upon nothingness, and not always organically, suffering from a certain unevenness in narrative style that throws you off about as much as the questionability within the artistic touches themselves. Needless to say, underdevelopment isn't the way to go if you're trying to compensate for natural shortcomings, and dragging isn't exactly a much better way to go, because no matter how undercooked this film may be, it, at just shy of two hours, takes plenty of time to get fatty around the edges, taking on excess material that, before too long, devolves into repetition, maybe even aimlessness, which is, of course, at its worst when the excessiveness is cleansed of material and left strictly with filler, much of which is of a questionably artistic nature. Not a whole lot happens throughout this film, as there's only so much to this minimalist story, whose natural shortcomings are considerable enough to perhaps secure the final product as underwhelming, while soften the ground on which compellingness stands enough for sinking even deeper into underwhelmingness to be a serious risk.

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The film gives you a little bit of info here and there, plus the effectiveness within the offscreen performances and Julianne Moore's onscreen performance keep you adequately invested in the story of Carol White, but immediate development is mighty lacking, and gradual exposition isn't too much meatier, resulting in considerable underdevelopment that ends up going a longer way than you might think in distancing you from a story which is too minimalist to afford you falling out. I can joke all day, but I do actually like this film and found it to be adequately exciting, but the fact of the matter is that what marketing that went behind this project made it appear flawed, and sure enough, this film isn't 'safe' from some complaints. Come to think of it, the way that weird person on the poster in question is walking, coupled with a pretty concealing outfit, makes him look kind of like Bigfoot getting ready to fence, though that doesn't exactly raise the excitement all that much, because even though Bigfoot is cool and all, of all types of sword fighting styles he could be exploring, he's taking up fencing. Ouch, that's actually kind of harsh, because this film does indeed raise quite the standard in terms of not being seen, and I can't say that I'm surprised, not just because this film was on a mighty low profile when it came out, but because the poster is so unappealing that it looks like some unpolished, amateur photograph.

No, this film isn't that underwhelming, but environmental messages and Julianne Moore trying to keep from getting sick don't exactly make this film quite as exciting as the 'Safe' with Jason Statham, even though this film has been about as watched as 2012's 'Safe'. or at least that's what this slow, two-hour-long dramatic 'thriller' is telling me. Seriously though, no place is safe here, as there is no escaping the horrible vengeance of the mighty one we've wronged. If you don't know about 'Game Change', then you sure don't know about this early Julianne Moore vehicle, unless, of course, you do know about, and the reason why you're not reading this article is because you find the looks of it so bland that you're just not really bothering to look into it, even though, at it's core, it's a chillingly suspenseful dramatic thriller of intense proportions, or at least that's what the critics say. Huh, I reckon Sarah Palin really should have watched what she said about the environment, because here she is suffering the consequences of environmental problems, and if you don't get that, well, it doesn't matter, because you're probably not aware of this film enough to be reading this article.