In Gus Van Sant’s Promised Land, screenwriters Matt Damon and John Krasinski present a well-rounded, yet emotionally-charged argument that attempts to build a compelling film around the controversial process of natural gas extraction known as hydraulic fracturing or “fracking.” So why then, does Promised Land fail to strike a triumphant chord with its message of good old-fashioned American values and the lengths we’ll go to protect what’s important to us?

That answer may lie within our own views of “fracking” and whether we believe it’s a necessary evil. Most people, like myself, understand the importance of weaning ourselves from foreign oil dependency while also recognizing the environmental dangers of a dubious process involved in getting to ample stores of natural gas sitting right below our feet. In other words, Promised Land's message seems seriously neutered by an issue with no easy solution and one we’d rather not think about. And initially, the filmmakers play it a bit too straight down the middle to make a compelling film, one that plays into our sensibilities while also challenging our convictions – at least until the film’s third act featuring a ham-fisted twist and preachy, long-winded speeches that are neither as persuasive nor as crafty as they want to be.

Matt Damon plays Steve Butler, a middle-America everyman who left the dying farming community where he grew up for better opportunities in the city. He now works for a large global oil company trying to persuade the small town McKinley community to lease the drilling rights of their farmland to his $9 billion company. But the recession-addled townspeople have doubts about whether this is a good thing or not. In most cases, they cave in -- despite their convictions -- and sell out to keep their multi-generational farms from foreclosure.

Butler is accompanied by Sue Thomason (Frances McDormand), who assists in the deceptive ruse which Butler delivers with a knowing nod because he himself “comes from the heartland and is able to speak the language of these people.”

But it turns out this trait can be both a strength and a weakness, for Butler also understands the adverse effects of injecting the earth with water, high pressure, and toxic chemicals that can leach into the water supply and ultimately kill plants and livestock. Yet most townfolk are willing to risk the environmental hazards for their own piece of the fiscal pie. That is until Dustin Noble (John Krasinski) shows up to become Butler’s instant foil as an environmentalist hoping to convince everyone of fracking’s dangers.

Directed by Gus Van Sant, who also helmed Damon’s previous screenplays for Good Will Hunting and Gerry, Promised Land comes across as a solid effort. The film features top-notch performances from a cast that includes Hal Holbrook who took time away from his Mark Twain one-man show to give a memorable turn as the local high school science teacher, the only one to question Butler’s motives. It’s a beautiful thing to see the wily old veteran act circles around the cast of actors who are A-listers in their own right. Too bad the overwritten script let’s Holbrook’s character down in the second half with preachy diatribes addressing the dangers of fracking and overtly pleasant little Rockwell-ian vignettes about the innocence of farm life.

The romantic attraction on display between Damon’s Butler and high school teacher Alice (Rosemarie DeWitt) appears pleasant enough, if not a blatant product of Hollywood storytelling, as is that between McDormand and shop keeper Rob (Titus Welliver). Damon and Krasinski also project an interesting opposing chemistry, but there’s just not enough conflict and tension… until the big twist finally rolls around and lurches the pleasant little politically correct fairy-tale into full-on scandal mode a la Michael Clayton. It’s all too late though.

There’s really nothing to hate in Promised Land. Fracking is certainly an important issue and one worthy of further discussion and consideration. Still, it’s disheartening to see a film so passionate in its message and intention become so dimly commonplace.

(Released by Focus Features and rated "R" by MPAA.)

Review also posted at www.franksreelreviews.com.