A romantic drama with a sci-fi twist, The Time Traveller’s Wife fails to live up to the lofty expectations placed upon it.

The film is based upon the bestselling novel by Audrey Niffenegger, a sweeping tale of romance and destiny grounded by an intimate love story between two conflicted personalities who find solace within one another.

But that was the book; this is the movie.

Eric Bana stars as Henry DeTamble, a librarian who is inflicted with a genetic disorder which inadvertently causes him to travel through time, often to varied moments in his own life.

Rachel McAdams co-stars as Clare Abshire, the love of Henry’s life and foundation for his unpredictable existence. Clare first meets a time travelling Henry when she is only a child, unbeknownst that she will one day be his wife.  

The film can be seen in two halves: The first displays the odd courtship between the pair, and goes with the tide of Henry’s travels, which provides some entertainment and plenty of flesh since Henry always shows up in his new locale sans clothing.

The second (and more engrossing) half focuses on the pairs struggle to conceive and raise daughter Alba (sisters Hailey & Tatum McCann), who provides the element which makes this chemistry void couple credible.

That the pairing of Bana and McAdams fails to ignite the smallest of sparks is a major problem, since the film lives and (ultimately) dies on the success of their love story.  

That fault lies in director Robert Schwentke’s failure to provide time for the viewer to get to know, sympathise, and fall for these characters, and also delve more into the time travel aspects of the film, rather than fill in the gaps with bland one liner’s, courtesy of Ghost screenwriter Bruce Joel Rubin.     

Sure, fans of the book can (and will need to) join the dots, yet others will be left wallowing in confusion and wondering what all of the fuss is about.

Acting wise, a terminally miscast Bana fails to present Henry’s rugged intelligence and self loathing, in the process coming off as a man out of place rather than a slave to time.

McAdams, however, injects warmth and sensuality in her role as the suffering wife, even though the gloom her character is supposed to express during Henry’s absences are never truly felt.     

The raw ingredients were there for the makings of an innovative and entertaining love story, yet Rubin and Schwentke have failed to capitalise on its potential. A travel back in time is needed to save this film.