It took two viewings to decide how I felt about Max Mayer’s Adam. I am at the stage now where I can derive some conclusions from this unusual movie. For the most part (that is the first hour at least), the observational quality of the piece lands right on the money. Only in the last third does the film peter out into nothing. Because the acting comes across so sweet and endearing at the beginning, expecting anything less from the final act seems sacrilegious. Alas, this is what deprives Mayer’s film from the stature of greatness it would otherwise have attained.

The movie tells the fictional story of Adam Raki (Hugh Dancy), an electronics engineer whose home life is not great. With the recent loss of his father and the prospect of having to move, Adam is not having a good time of it all. Then school teacher Beth Buchwald (Rose Byrne) moves into the apartment upstairs. When she meets Adam, she has no idea about his condition. Adam has Asperger’s Syndrome, an Autistic Spectrum Disorder which carries with it an array of personal and social dysfunctions. For example, anyone with the condition has difficulty establishing eye contact; their social skills are not advanced and they tend to get fixated on their favourite subject. In Adam’s case, that subject happens to be astronomy. This sweet-natured individual soon captures Beth’s heart -- but will it last? I ask that question because when only one person in the relationship understands the unspoken meaning of loving another with all of one’s heart, surely it can feel a bit one-sided without a mutual sense of affection. And especially if that affection is not conveyed in words, how can someone know for sure that they are really loved?

Does Adam have anything new to say about Autism or Asperger’s Syndrome? Not really. Most of the salient points were covered in Mozart and the Whale (2005), a superior independent production starring Josh Hartnett and Radha Mitchell. The latter film was so definitive it makes Adam feel like half measures and small talk.

Grant Myers edits for performances over everything else, including pacing. His timings are a little off in places, such as when Adam reveals his condition to Beth for the first time. The lead actor’s work comes across as too self-aware, a less than believable trait. He is brutally honest when a more tactful approach is called for. Perhaps a more relaxed take would have worked better.

Mayer’s screenplay offers tremendous potential for a leading actor to do some sublime work. Initially, Dancy grabs the bull by both horns only to let go just when things are getting interesting. On the other hand, Byrne’s performance is a true revelation, a clever amalgam of tenderness, strength and understanding. It is mainly through her efforts that the film stays on track as long as it does. Maybe this is a sign of great things to come from this actress.

(Released by Fox Searchlight and rated “PG-13” for thematic material, sexual content and language.)