I often find myself thinking that first (or second) time filmmakers should simply avoid drama because it's so easy to fall into the trap of taking your material so seriously it collapses from its own sense of importance.

In the case of All We Know of Heaven, the elements are all there for disaster: a dead wife, an obsessed and moping husband, cancer research, and the friend who'd like to be more than a friend. Nothing is wrong with those elements, but there needs to be more. We get the premise fairly quickly - this guy is screwed up, unable to leave the past and embrace a new future. That exact point is what we see in each and every scene. It's as if the script is as hung up on the dead wife as the main character is.

There's some good here, in understanding of the situation and its difficulties, but there's too little of it compared to the dreary repitition of the same ideas. The script could have withstood some editing to tighten it up, create a little more immediacy to the situation.