In another one of those fictionalised retellings of true stories that have their facts messed up, we have Matt Damon aka Benjamin Mee buying a zoo for a house six months after his wife dies. Clueless about raising kids (a cute and perceptive seven-year-old and an angsty teenager into horror art), this is his subconscious way of handling grief and maybe family reconciliation. Not that he needs much saving anyway.

Sandwiched in the rushed, end-Christmas season between Steven Spielberg’s diverse adventures (War Horse and Tintin), and a Burj Al Khalifa-scaling Tom Cruise, We Bought a Zoo was once a missed opportunity that is now out on video (this feature is dedicated to recent films roaming the cinema-circuit, but Zoo is a rare exception in a slow film-month that easily sidelines more happening releases).

One feels an odd sense of captivation in seeing Matt Damon knotting down his hopes in front of a yawning tiger. While the tiger may or may not be physically there (photo-realistic animation), Damon’s genuineness pegs down an already warm-by-the-fire atmosphere set by screenwriter/director Cameron Crowe.

And as it turns out, it is also the director whose sunny geniality blocks Zoo from potential greatness. Crowe’s trademark coverage, in deftly worded dialogues and naturally-paced events is abundant in every turning moment; even when cliché is stamped upon the film. There’s an intangible simplicity here and sometimes, even that simplicity is too much.

For instance, the technicalities (and difficulties) of owning a dilapidated house and a zoo, and transforming it into a functioning refuge are clipped and curtailed for mainstream cinema.

Subdued villains are added. Benjamin and son Dylan (Colin Ford) are awarded a needless disassociation. His daughter, Rose, is shifted to a more understanding, motherly role at age seven (we see her making a sandwich for dad while holding an insightful, guileless, conversation inconceivable by most adults).

Benjamin also has a dead wife to grieve (there’s an obligatory scene where he pops open a folder with her pictures, chiefly to shed a few tears). But we know that’s not going to last.

Zoo also stars Scarlett Johansson as a zoo-keeper. According to the ownership agreement, Benjamin inherits her and a handful of staff with the property. Amongst them is a nearly 13-year-old Elle Fanning (Johansson’s cousin), a free-sprit country gal, giggly-smitten by Dylan. Their tie-up is as clear-cut as the one in Jerry Maguire — without the “you had me at hello” bit.

My only beef is with Rodrigo Prieto’s overly sharp, shoulder-mounted cinematography that’s infrequently decorated with blown-out highlights. The snappishness of the light is a stark contrast to Crowe’s unpretentious minimalism and already-glowing warmth. The extra sharpness of faux-indie reality hurts the eyes.

Released by 20th Century Fox, Zoo is a typical concept, marinated with absorbing performances by Damon and Johansson. The film also stars Thomas Haden Church, Patrick Fugit, Colin Ford, Elle Fanning, Maggie Elizabeth Jones, John Michael Higgins and Angus Macfadyen.

Based on the memoir by Benjamin Mee of the same title and a previous screenplay by Aline Brosh McKenna, We Bought a Zoo is rated PG. There’s a dead mother in the back story, a tiger dying of old age and some artwork of decapitated heads. Nothing crude or offensive.