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Each character has quirks that are endearing, stirring emotion and wry humour into the story. Phillips anchors the film beautifully as a woman who hasn't given up on life, even though it seems to be done with her. It's a complex role depicting real issues in a heartfelt way. The ensemble surrounding her creates strikingly vivid side characters, each of whom wins over the audience in his or her way. The absurdly handsome, charming England is a standout, as are Erik Thomson as a lovelorn colleague and McElhinney as a loyal friend.

While there are plenty of zinging one-liners, the film is never laugh-out-loud funny. So it ends up feeling more like a lighthearted drama with some deeper meaning woven through it, including a wide range of individualistic experiences and desires. A more raucously saucy take on this topic would have been much more entertaining, and might have driven the solid points home more provocatively. But it's a warm and honest reminder that we should never be ashamed about seeking pleasure.

themes, language, sexuality

14.Jul.22

Led by the superbly invested Dourif (whose father Brad makes an amusing cameo), this is an unusually strong ensemble, as each actor is able to make even the most outrageous element of his or her personality spring to authentic life. Brophy's commitment to Shuroo's slippery charisma is impressive, while Dorfman, Cooper and Qualley have especially strong personal moments along the way. All of the actors carefully let the viewer in, maintaining a humorous tone without ignoring emotional undercurrents.

Tellingly, it doesn't matter whether Shuroo is a fraud; getting honestly in touch with who you are is beneficial however it happens. Exhortations to reject victimhood and prudery are important, as is the freedom that comes from embracing truth and owning mistakes. The script also points out potential dangers in a system designed to make money by preying on vulnerable people. In this sense, even as it takes some lurid, energetic twists and turns, there's a feeling that the film doesn't quite go as far as it could.

themes, language, violence, sexuality

20.Jul.22

The script is too generic to allow for much in the way of character depth, but the actors find some engaging charm along the way, especially Salt and Knight as the younger Tom and Joe's connection is engagingly played with a plenty of warmth and affection. Although there's very little lust on show. In the older roles, Vernon and O'Neill convey a knowing sense of the years these men spent together, vividly seen in each surge of emotion. Although the script never hints at what might have happened in those intervening decades.

There's an intriguing moment about halfway through when the young couple tries to imagine their life in old age, believing that they will never be publicly seen as a proper couple. Shortly after this, both strands of the story take darkly emotive turns that are played for maximum melodrama, complete with cloying musical score. But everything is circling around very real issues and feelings that many in the audience will identify with. And it's important to keep exploring the positive shifts in social values on screen.

themes, language

21.Jul.22