All movies begin with a script, and all scripts begin as idle thoughts in the minds of writers.
Most scripts, that is, because there are those which aren't written directly from the screen and instead adapted from novels, plays, short stories, articles, and compendia of all kind. The latest is The Deep End of the Ocean , an adaptation of Jacquelyn Mitchard's novel by True Crime writer Stephen Schiff. While this Ulu Grosbard film features some powerfully thematic content regarding the strength of family ties, however, audiences and industry experts will file this one away as evidence of the inferior nature of adapted movies. Nearly a decade later, the Cappadoras have pieced their life back together and are living well in a suburb of Chicago when Beth spots a kid on their block whom she supposes to be their lost boy. Unfortunately all of this comes off as a very lightweight drama for many of the same reasons that caused the demise of last year's Stepmom .