Cinematic Winter of discontent

A MOVIE filled with Big Ideas - true love, religious symbolism, good versus evil, transcending the space-time continuum and so on - inevitably sets itself up for the possibility of a Big Fall. Unfortunately for Winter's Tale, a passion project from screenwriter and producer Akiva Goldsman, the descent from box-office hopeful to major dud is mercilessly swift.

Winter's Tale also marks Goldsman's directorial debut but while being panned by critics is not necessarily a deterrent to commercial success, there is absolutely nothing to suggest that there will be a happy ending here. Despite the connection to a critically acclaimed book - Winter's Tale is adapted from the well-regarded 1983 novel of the same name by Mark Helprin - and some heavyweight casting, the film is about as convincing as a Donald Trump hairdo. Or a three-dollar note. Or a flying horse and some cheesy special effects. Not coincidentally, a winged white stallion plays a significant role in Winter's Tale, which is an allegory - two interconnecting tales, actually - about a petty criminal's date with destiny. This love story, which aspires to inspire, is instead completely underwhelming.

Part-fantasy, part-morality tale and all soap opera, the narrative has the standard ingredients in place: guardian angels against all-conquering demons, a damsel in distress, a handsome rogue, a New Year's Eve ball followed by the obligatory love scene and string-heavy soundtrack - and yes, that darned flying equine icon.