You see a film starring Robert Redford and Jennifer Lopez set on a lonely Wyoming ranch, and the first thought that comes to mind is "Eeeeew." Don't worry. They don't hook up. Though "An Unfinished Life," does contain a love story, thankfully there's no May-December action between its two biggest stars. "An Unfinished Life" opens Friday in select markets; the Tucson opening date has not been announced. Redford, belying a past filled with loverboy roles, settles into the role of stern, nonsexual grandfather. Grim, crusty and masked with a leathery face bearing more lines than a football field, Redford plays cowboy Einar Gilkyson, who grudgingly takes in his estranged daughter-in-law, a battered single mother played by Jennifer Lopez. Lopez's Jean character, on the run from a desperate boyfriend with her tween daughter, Griff (Becca Gardner) in tow, isn't pleased to see Einar either. There's more than a decade's worth of festering, unspoken nastiness between the two regarding the death of Jean's husband in a car accident. Griff is the bridge that draws the two together, wincing her hurt little eyes whenever momma and granddad argue. "Can't we all just get along?" Griff seems to be thinking, although even money says her inner pain comes simply from being named "Griff." Another unifier is Einar's neighbor and confidante Mitch (Morgan Freeman), a sickly fellow whom Einar dotes on like a mother to a cub. Guess what bonds the two men: another unspoken accident from the cloudy past. As familiar love begins to soften Jean and Einar's brittle hearts, romance also blooms. Sticking tight to the movie rule that a single woman always falls in love at first sight with the first eligible bachelor she runs into, Jean gets it bad for Crane (Josh Lucas), the local lawman who is everything she ever desired. That is, until Crane makes a lapse in judgment that artificially separates him from Jean until a torrid late-film reuniting. The drama is all standard, sugar-sweet stuff of fence-mending and reawakening, and there's not a plot twist you don't see moseying in all the way from the gorgeously shot horizon. You almost want to flip the screen over and see if there's a Hallmark logo imprinted on the other side. Director Lasse Hallström ("The Cider House Rules," "Chocolat") unspools his tale with a steady assurance, keeping things moving at a reasonable horse trot while allowing his players ample opportunity to try and flex their acting muscles. Redford is almost too friendly to make us buy his resentful codger routine, and Lopez struggles with a country accent that slips in and out, but Freeman is as earthy and resonant as always, adding an extra swig of authenticity to every film he graces. As he did in "The Shipping News," Hallström goes heavy on the metaphors, introducing to the plot a caged bear that stands in for the mental prisons Jean and Einar seem intent on holding each other in. To forgive someone is to release a prisoner and then realize that the prisoner was yourself. That's what the film preaches, with all the subtlety of a greeting card.