Peter Jackson's "The Lovely Bones," based on a popular novel I have not read by Alice Sebold, tells two parallel stories. In the first, a typical 14-year-old Pennsylvania girl named Susie Salmon (Saorise Ronan) is murdered by a creepy neighbor and finds her spirit in limbo, stuck between the world of the living and Heaven. She watches with the audience as the second story, about the impact of her death on the rest of her family, unfolds. It's a technique that almost assuredly works better in prose than on screen. Any narrator in any work of fiction enters a sort of limbo, if you think about it, perched between the real world (in which they are telling you, the reader, a story) and the make-believe realm in which the story's events take place. So it's probably not very challenging to accept Susie's situation, occupying a magical heavenly afterlife of her own creation while relating events she witnesses on Earth, in print.