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Scripture tells us that God has set eternity in our hearts, and it is that very principle we see at work here. J.R.R. Tolkien convinced C.S. Lewis that fairy tales and legends have similar themes and events because all human cultures have a sense of "the true myth"—that is, the gospel. Aronofsky is picking up on gospel truth in mythology and the world's religions, and tracing them in hopes of arriving at a profound revelation.

Tommy meets with Dr. Lillian Guzetti (Ellen Burstyn)

So, does it all lead to a profound revelation? Unfortunately, no.

Despite its brave exploration of essential questions, The Fountain fails to lead us to any substantial conclusions. Tom and Izzy give us an affecting picture of our need for humility and love. But for all of their talk about the Tree of Life, the characters seem curiously uninterested in God himself. And they don't seem overly concerned with what might have separated us from the Tree of Life in the first place—namely, sin. They're more interested in finding eternal life through their own striving. These pilgrims seem preoccupied with, as one character puts it, achieving grace.

Further, the film's title refers to a rather troubling and ambiguous picture of "eternal life." In Aronofsky's view, it seems that we're part of an eternal "recycling," our lives eventually becoming fertilizer, from which some new reality springs. That seems to stray from the Christian idea of resurrection, in which Christ declares victory over death—rather than surrender to it.

Nevertheless, The Fountain is a challenging film about humanity's mad struggle to find a cure for our condition, and Aronofsky is clearly a man on a spiritual journey. While some critics are jumping at the opportunity to sneer and call the whole thing ludicrous, this brave filmmaker deserves applause for giving us a work that is uncompromisingly bold and heartfelt. In spite of its flaws, it merits comparison with such daring and personal visions as Malick's The New World, Gibson's The Passion of the Christ, Coppola's Apocalypse Now, and Kubrick's 2001: A Space Odyssey.

Some of the scenery is breathtaking

Nor are we often blessed with portrayals of a meaningful, passionate marriage like this one. In Jackman and Weisz, the director finds two actors willing to go as far as his imagination will take them.

Jackman, who stepped in when Brad Pitt dropped out of the project, commits fully to the demands of his role—even shaving his head for the sake of space travel. In his busiest year yet—X-Men: The Last Stand, Scoop, The Prestige, Flushed Away, and Happy Feet—this is his most vigorous work.

And while it would have been great to see Aronofsky's original choice for Izzy, Cate Blanchett, play the part, Weisz—an arresting actress in her own right—is effortlessly appealing and endearing. (She also happens to be the director's fiancée.)

Together, they deliver some wonderfully intimate moments, including one in a bathtub that's much more affecting than … well … the last time we saw Rachel Weisz acting from a bathtub. (Who really wants to remember Constantine?)

The Fountain's colorful supporting cast reunites Aronofsky with Requiem's Ellen Burstyn, and includes Ethan Suplee (TV's My Name Is Earl) and Cliff Curtis (Whale Rider). But their characters don't have much to do except criticize Tom's desperation and sigh over Izzy's dilemma.

If the film earns any Oscars, they're likely to go to the special effects team for their awe-inspiring work. They've set an admirable example, creating amazing visions without the massive expense of digital animation. (The original budget for the film was $75 million; the final budget, $35 million. Now that's what I call savings!) The Fountain's effects are almost entirely handcrafted. The spectacular imagery of the film's outer-space finale was achieved through micro-photography, capturing the behavior of chemicals in petri dishes. Sometimes, a step backward may be the best way to break new ground.

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