Fireflies in the Garden

Every family has its share of problems, but its unlikely many will identify with the characters in Fireflies in the Garden, an emotionally shallow drama that wastes a surprisingly deep ensemble cast.

Perhaps the journey from script to screen is more compelling than the film itself, a story of tragedy and reconciliation from rookie writer-director Dennis Lee that was filmed in central Texas in 2007 and debuted at film festivals the following year. As sometimes happens in the world of independent film, it was thrown into distribution limbo before finally making its way to American theaters.

The film, which takes its title from a Robert Frost poem that is referenced in the dialogue, stars Ryan Reynolds as Michael, a successful writer who returns home for a celebration involving the belated collegee graduation of her mother (Julia Roberts).

However, a car accident throws the family into turmoil and causes Michael instead to focus his grief and anger toward his father, Charles (Willem Dafoe), a respected professor whose psychological abuse of Michael can be traced to his boyhood.

Several other family members deal with the tragedy in their own way, including Michael’s aunt (Emily Watson) and younger sister (Shannon Lucio), and his ex-wife (Carrie-Anne Moss) who returns for a funeral.

The film employs an extensive use of flashbacks from Michael’s childhood that wind up more confusing than illuminating. Viewers might need a road map to keep track of the characters for a good while, and how they relate to one another, since some are played by different actors in past and present, and some are not.

Lee composes some powerful imagery and crafts a few strong character-driven moments to match. The concept could have worked with an edgier and subtler approach, especially toward the conclusion.

His cast certainly helps to elevate the material, especially the versatile Reynolds and Dafoe, who brings depth to his role as essentially the villain. Roberts registers strongly as the family matriarch — her participation likely came as a result of her husband’s (Danny Moder) involvement as the cinematographer.

Ultimately, however, the film becomes tedious under the weight of its melodramatic sentimentality and heavy-handed symbolism.

Rated R, 99 minutes.