Temporal mechanics intrigue me, such that I'm willing to go to great lengths to expose myself to such — whether it is watching Adam Sandler's Click, or perusing Nicholson Baker's revolting, aimless The Fermata.
It was this drive that led me to The Lake House, despite reviews urging against such desperate action. For those who didn't get the memo, this newest pairing of the Speed duo of Keanu Reeves and Sandra Bullock has them sending letters (but little else) to each other via a mailbox that transports Bullock's notes two years into the past, to 2004, and Reeves' two years into the future.
The Lake House is what you get when you cross the concept of Frequency — two-way communication between temporally-displaced individuals in the same house — with the plot of Happy Accidents — someone trying to change the past to find a soulmate. I found the former film fascinating: I love Dennis Quaid, and though the movie's application of temporal mechanics may've been illogical, it was both unique and internally consistent (and applied to a murder-mystery, which is infinitely cooler than a romance). The latter film tried my patience with unlikable protagonists and a plodding plot. The Lake House falls firmly in the middle of those two, not just in quality but in devices, featuring both unlikable protagonists and internally inconsistent mechanics.
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