Art (Foster) is a young guy having his last summer of freedom before responsibility sets in. Trying to escape his gangster father (Nolte), he gets a job in a bookshop and has a fling with his boss (Suvari). Then he falls for the free-spirited violinist Jane (Miller). Even more intriguing is Jane's dodgy boyfriend Cleveland (Sarsgaard), who stirs something unexpected in Art's life and freaks him out on almost every level. But all this fun is taking a toll on his studies.

Thurber's script depends on a literary-style voice-over, which feels a bit lazy, as if he was trying to get the book verbatim into the film. The complex network of relationships refuse to fit into neat boxes, so the movie feels episodic and random. And it's not easy to get into. It also seems random that the story is set in the 80s, except that Art is training to be a stockbroker. Although this adds to the film's warm, engaging tone. And it's beautifully photographed by Michael Barrett.

Along the way, Thurber achieves a nicely against-the-grain structure that keeps us guessing at what will happen next. This helps carry us along even when things start to drift a little. Several key suggestions that aren't followed through, and important themes aren't properly developed, especially the bisexuality. Sure, Art loves both Jane and Cleveland, but Thurber's aloof style never makes this hugely convincing.

In fact, everything is strangely muted, from the romance to the action. And none of the big questions are really dealt with, let alone answered. Instead, it's framed as if it's all a blip in Art's memory. Still, Foster is a likeable lead, an everyman nice guy who's a bit of a blank. Miller is sexy and oddly cold, with a drifting accent. Sarsgaard is terrific against type as the mercurial biker dude who catches Art's (and our) imagination. But frankly, he would have made a better central figure for the movie. Better yet, read the book.

themes, language, sexuality, violence

17.Jan.10