The paradox of Sean Penn's latest foray into the dangerous waters of directing is that it is simultaneously an indictment and celebration of its subject. Based on the true story of a young middle-classer's journey away from home and into nature, the work mirrors its subject in such a way that renders entertainment, and clear message, mostly unobtainable.

Any investment the viewer may have in Christopher McCandless's (aka Alexander Supertramp) story is buck-shot by the script's two-dimensional approach to character. Rather than give the illusion of depth through subtlety and idiosyncrasy, the film aims for splash-page characterisation that crams in hippies, Dutch stereotypes, sex-crazed teens and pompous parents into barely minutes of screen time – a special frustration when the director has no qualm about spending countless minutes gazing at the scenery. If Penn had tried to squeeze more blood out of his actors than his stones, Into The Wild could well have hit the marks it aspires to.

It's a half-way refreshment to find Penn's almost humanist passion for his subject dissipate into a mature and engaging approach to the subject of God. The segmented presence of Vince Vaughn – very pleasantly against type – and Hal Holbrook add much needed flavour and integrity to the proceedings and though the self-aware lead performance from Emile Hirsch conjures a cringe more often than a clap, there are still moments in the very intimate portrayal that manage to endear (if not entirely affect).

Much like the Supertramp of the story, Into The Wild is determined, confused and also a little naïve. There's certainly a message to this story, it's just a shame the film doesn't know what it is.

Discuss this article on our Forum.