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There’s a level of detail – an overall vision – that just seems to be missing.
The casual sexism, however, that was almost the film-making norm in the early Eighties, is still very much in existence.
And their hippie-dippie, artistic mother, Rose (Naomi Watts), is no help – she’d prefer to paint than cook and thinks her husband, with his romantic daydream of building a glass castle for them all, is a genius.
There are distinct echoes here of Captain Fantastic, another recent portrait of unconventional, off-the-grid family life, and of Esther Freud’s Hideous Kinky too.
And that’s before we get to one of the most long-winded endings in film history.The scene in which we discover what it is should be a hairs-on-the-back-of-the-neck moment – I could almost hear Vangelis’s wonderful mournful synthesiser refrain – but it’s symptomatic of a film that misses so many of its big moments that it isn’t.There’s no Vangelis; instead the ubiquitous Hans Zimmer and Benjamin Wallfisch provide an at-times deafening sound-a-vaguely-alike score that I can’t remember a note of. In its well-intentioned efforts to somehow match the impact of the original, this is a film that has become overblown, over-written and massively over-long.On June 12, 2014, it was announced the show was pulled from the air in the US and cancelled after airing only four episodes.The complete series was broadcast on the ITV2 channel in the UK, on Latin-American E!