Clare has been in love with Henry her entire life. She believes they are destined to be together, even though she never knows when they will be separated: Henry is a time traveler--cursed with a rare genetic anomaly that causes him to live his life on a shifting timeline, skipping back and forth through his lifespan with no control. Despite the fact that Henry's travels force them apart with no warning, Clare desperately tries to build a life with her one true love. - skip ad - Genres: Drama, Romance and Adaptation Running Time: 1 hr. 48 min. Release Date: August 14th, 2009 (wide) MPAA Rating: PG-13 for thematic elements, brief disturbing images, nudity and sexuality. Distributor: Warner Bros. Pictures Distribution Cast And Credits Starring: Rachel McAdams, Eric Bana, Ron Livingston, Jane McLean, Arliss Howard Directed by: Robert Schwentke Produced by: Richard Brener, Brad Pitt, Michele Weiss (II)

A shrewd screen adaptation by "Ghost's" Bruce Joel Rubin has put Audrey Niffenegger's novel "The Time Traveler's Wife" on speed dial so that the heart of her time-leaping romance remains intact while all its superfluous details and rudderless characters are jettisoned. It still is an acquired taste as illogic often trumps emotions and, for some at least, the treacle comes on a little too strong toward the end.

A potential lure for female audiences -- and smart counterprogramming against the summer's testosterone-heavy tentpoles -- this New Line release via Warner Bros. should open with better-than-average numbers. Its sticking power, though, is uncertain.

Time travel is, of course, primarily the domain of science fiction, but Niffengegger's best-selling idea was to use the device to explore a romantic relationship over time, but not in chronological order. Henry (Eric Bana), a librarian, suffers from a genetic "anomaly," which gets labeled Chrono-Impairment. He can't stay locked down in any particular time but rather involuntarily slips away to other periods in his life.

Thus, he meet his future artist-wife Clare when she is 6. So by the time they finally "meet for the first time," Clare (Rachel McAdams as an adult but Brooklynn Proulx as a child) has known Henry virtually her entire life. Sounds dreadful to me, but many readers must like the notion.

Like H.G. Wells' Invisible Man, Henry's anomaly really is a curse. His time travels involve sudden appearances in the past or future without any clothes or money. Thus, he becomes adept in shoplifting, breaking and entering, tree-climbing and beating up people. Chicago police have a long profile on him but can never keep Henry in a patrol car long enough to actually jail him.

Yeah, it's a problem," Henry says in one of the movie's clear understatements.

Time travel does allow Henry, from a different age, to show up to replace himself when he goes missing. A much older Henry, for instance, is forced to fill in for his younger self at the couple's wedding. Time travel also allowed Henry to escape death at age 6 when he should have been in the car accident that killed his opera-star mother (Michelle Nolden). This didn't prevent his dad (Arliss Howard) from becoming a drunk.

Rubin's adaptation, however, pays little attention to Henry or Clare's families and friends, so their love story across time is brought into hard focus. Unlike the novel, Rubin maintains a better sense of forward momentum: The couple meets, dates, marries and struggles to have a baby in fairly chronological order -- only with flashbacks of a different kind.

What one notices, though, is that they would be a fairly unremarkable couple without Henry's anomaly. Bana and McAdams make you feel the pain and the ultimate acceptance of their dilemma but never convey the magic that allows the couple to persevere through such a grand but trying love. Time isn't the only thing that keeps these two apart.

Dr. Kendrick (the always reliable Stephen Tobolowsky), a molecular geneticist, diligently works to help but ultimately might have better success with their child if Clare could only stop the miscarriages.

German-born director Robert Schwentke ("Flightplan") keep things moving briskly enough so that the leaps in time mostly obscure the leaps in logic. His cinematographer, Florian Ballhaus, also German-born, lights with an eye for romance, and Mychael Danna's score sometimes emphasizes its melancholy nature. Julie Weiss' costumes could have had fun with period tastes and Henry's frequent need to cover up with anything, but this is not a film looking for laughs.