The movie's major aesthetic deficiency parallels this aspect of Lee's psychology. Rather than create an inspirational metamorphosis for Lee, and thus a more optimistic sense of closure for the audience, Lonergan lets the story peter out and the dramatic urgency wane. As it becomes clear Lee's struggle to recover is just beginning, the picturesque shots of Manchester's harbor and environs that Lonergan inserts between scenes strike one as quaint distractions from the profound human issues being raised. Eschewing an implausibly upbeat ending is not the problem. It's the impression that Lonergan, daunted by the choices facing his characters, has gone into avoidance mode.