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She one time survived a sinking send in "Titanic." He one time thrived on the mean streets of Baltimore on "The Wire." Kate Winslet and Idris Elba should by all rights accept enough dramatic weight between them to easily elevate a two-hander about strangers who must rescue themselves from a desolate snow-blanketed Utah mountain range after their charter airplane crashes.

Instead, "The Mountain Between Us" is a loftier-distance soap opera, woozy with overly telegraphed peril and determined to brand the audience root for a couple who clearly aren't meant for each other and played by actors who deserve a generous C-minus in chemical science. In the film's production notes, Elba—considered dreamboat material by his many fans—notes that this is his first-ever romantic atomic number 82. His surprising awkwardness during the film's intimate moments perhaps explains why.

What really comes between Winslet's globetrotting photojournalist Alex and Elba's brain surgeon Ben as fate and bad atmospheric condition bring them together isn't so much geographical but script-related. Based on a novel by Charles Martin, the screenplay is a collaboration betwixt Chris Weitz ("About a Boy," the live-action "Cinderella") and J. Mills Goodloe ("The Age of Adaline," "Everything, Everything"). I'll vouch for Weitz'southward skills, but in the example of Goodloe, anyone who has adapted a Nicholas Sparks' novel that isn't "The Notebook" is doubtable. And having seen "The All-time of Me," I rest my case.

Palestinian managing director Hany Abu-Assad, the maker of two politically charged Oscar-nominated foreign films ("Paradise Now" and "Omar," the terminal featuring a dear story) certainly has cred. Just he fails to achieve producer Peter Chernin'southward self-proclaimed vision of a romantic epic in the tradition of "Dr. Zhivago" and "Out of Africa." Compared to those classics, "Mount" is more of a molehill.

Right out of the gate, I had an uneasy feeling almost "The Mountain Between Us" as all flights are canceled at an Idaho drome because of an incoming blizzard. Alex, desperate to head back to New York in time for her wedding, overhears Ben lament that he has to operate on a young male child the next morning. She proposes they share a small plane for hire. Their pilot is Beau Bridges, who emits good ol' boy vibes equally he brings his soulful-eyed golden Labrador on-lath. That his Walter doesn't carp to file a flight programme is an all-too-convenient warning sign.

Not long after takeoff, while flying over remote treacherous terrain packed with white stuff, Walter begins to slur his speech and Ben recognizes he is having a stroke. Thank goodness, I accept never witnessed anyone having such an attack. But Bridges, perhaps making up for the brevity of his office, seems to have taken his cues from Ian Holm'southward Ash, the malfunctioning android in "Conflicting." The crash itself isn't all that terrifying in these days of "Flying" and "Sully." But Walter is a goner, the dog survives and he is in better shape than Alex, who has a huge gash on her leg. Ben—oh, give thanks goodness, there just happens to be a dr. in the house—fixes her up every bit best he can before disposed to his own cuts and bruises.

The medical stuff is the easy part. Cooperating with someone you just met is a bit tougher. Once Alex wakes, she reveals herself to be someone decumbent to taking risks and usually trusts her instincts in tight situations. With no jail cell telephone reception and with all devices that could take alerted the occasional jet overhead unfortunately out of commission, she thinks they should abandon ship and accept their chances on pes. The more bourgeois Ben, meanwhile, is less inclined to leave what's left of the aircraft and would rather stay put. As she heals, the pair has a go-to-know-you menstruum. Oddly, Ben wears a wedding ring but does not mention his wife. Alex, meanwhile, knows that if she had made information technology to her hymeneals, she would accept "rushed downwardly the aisle like Dustin Hoffman in 'The Graduate.'" Ben waits a beat and echoes the thoughts of many a cinephile in the theater by observing that Hoffman was trying to cease the wedding. For emphasis, he meekly utters, "Elaine!"

That is meet-cute stuff right there only the early portion of "The Mountain Between Us" suggests a variation on "When Harry Met Emerge…" Namely, can a man and a adult female get companions and piece of work together for a mutual cause? (That cause hither being survival.) I liked that in that location seemed to be no lovey-dovey business at this point. But then Alex looks through her photographic camera lens and sees a metallic glint off in the altitude. Off they go with their makeshift emotional therapy dog in tow and the days-long trek forces them to cuddle against the common cold at night. And, all too soon, the movie takes a tumble from which it never recovers.

I should have known when Ben early portentously utters, "A heart is nada but a musculus" that this movie, simply like the airplane, was destined to crash. Non to spoil the ending, which is corny as a crate of Cracker Jack, only Information technology seemed almost inevitable that Alex's perfectly nice yet banal fiancé would be Dermot Mulroney. For him, such roles are like Morgan Freeman playing the president or God. Meanwhile, weep not for our stars. Winslet's career overcame the laborious "Labor Day" and Elba isn't going to let the mortiferous "The Dark Tower" get him down. Besides, one time you realize that "The Mount Between Us" almost falls into the so-bad-information technology's-good category, it just might become destined for riff-worthy cultdom.