IRRESTIBLE

Steve Carell     Rose Byrne     Chris Cooper     Mackenzie Davis

     Jon Stewart (writer, director, producer) is at his best in comedy mixed with high drama, while ultimately making killer points about issues within a larger scope. Fine acting from the principal players makes it all work.

     The scene opens in a small town in Wisconsin that has lost its main industry and is dying.  The mayor and other city leaders have a proposal that appears not to be in the interest of the town of Deerlaken or its citizens.  The measure has almost passed when in strides local farmer Jack Hastings (Cooper) with a passionate argument against it.  However, he appears not to be making much headway with the leaders or the townspeople.

     When Democratic political consultant Gary Zimmer (Carell) hears about the situation and Hastings, he has the bright idea to shape Hastings into becoming a mayoral candidate in the upcoming election, who is confident he can “turn” Jack and the whole Republican town into Democrats.  

     Gary’s colleagues are extremely skeptical, but he has such confidence in his judgment and skills, he takes off for Deerlaken with high hopes, only to be consistently shocked by the nature of a small town versus a city like Washington D. C. (Example:  He only has to order lunch at the local watering hole, and meet a couple of people, for everyone he meets immediately after to know him by his new nickname, “D. C. Gary”, and he is greeted by everyone he meets as if they’ve known him forever.)

     Gary is successful in convincing Jack to run as a Democrat, and the campaign forges ahead.  There will be jolting upsets when Gary’s archrival, Republican Faith Brewster (Byrne), hears what he is up to and likewise descends upon Deerlaken.  But she is supporting the re-election of the mayor (Brent Sexton), backed by big bucks.  This, of course, results in Gary intensifying his fund-raising efforts.  The subsequent no-holds-barred rivalry of the two serves as part of the production’s entertainment.  

     Chris Cooper is ideal as a countrified character with an “aw-shucks” attitude overlaying a canny, strategic mind, and his background includes being a war veteran.  Gary sees that the principles underlying his arguments adhere perfectly with explicit aims of the Democratic Party.  A widower, Jack has a grown daughter Diana (Davis), who is devoted to her father, and enthusiastically joins his campaign.  

     The odds favor first one campaign then the other, with Faith shown to be a ball-busting flirt without principles and Gary handing it right back to her and gradually increasing his edge.  But as time goes on, the two factions are portrayed more even-handedly, and the viewer is shown more clearly the source of the problem.  Nice wrap-up!  But since I think the very ending is surprising and masterful, I won’t reveal more than that.

I have sorely missed Jon Stewart’s Daily Show on the Comedy Channel, so was highly gratified with many of the lines appearing throughout the film that are signature for him and truly funny and provocative, e.g., “Good people have to do s----- things in service of the greater good” and “We’re spending to start something; they’re spending to stop something.”      More substantively, Jon interviews Trevor Potter (whom I became acquainted with on the Steven Colbert Report show), former Chairman of the Federal Election Commission and current President of Campaign Legal Center stating how it is legal to hide billions of donations to a campaign that later can be diverted to other projects.  Thank you, Supreme Court, for the Citizens United ruling.

For political enthusiasts, this film hits home in the most delightful ways—all to make a provocative statement about the United States today.

Grade:  A                                                By Donna R. Copeland

VICE

Christian Bale     Steve Carell     Amy Addams     Sam Rockwell     Alison Pill

Don McManus     Eddie Marsan     Tyler Perry     Jesse Plemons

     This well conceived production with incredible casting and screenplay should hold up against the sure-to-come backlash.  Its greatest value lies in bringing to life background events and personalities that changed our country forever during the period of Richard Cheney’s political career (roughly the 1970’s-2009).  The choice of having a narration, and the selection of the figure to do it, points to just one of the creative ways in which writer-director Adam McKay and his colleagues present the personal and political values and characteristics that aided Richard Cheney and his wife Lynne in attaining the power they ultimately achieved in the U.S. government.  

     The story starts out with Cheney as a wayward partier when it looked like he would simply be a neer-do-well.  Enter Lynne Cheney, who had already dealt with alcoholism in her father, and gave her husband clear messages about her expectations of him and the consequences that would ensue should he choose not to abide by her conditions. Dick Cheney shored up, and began his career in politics.

     His true character begins to emerge after he has made it to Washington as an intern and aligns himself with Donald Rumsfeld.  Rumsfeld’s mentoring meshes completely with the personality of Cheney already in place:  ambitious, crafty/secretive, uncanny perception and the ability to look ahead and plan.  In the course of his career, Cheney will undergo ups and downs, but he will always have an eye out for opportunity, with a solid backer/strategist in his corner, his wife Lynne.  

     Through significant political threats (such as significant and historically unprecedented upsets in White House administrations) to his ambitions and heart attacks, Cheney forges on, seemingly undeterred, without any apparent contemplation or self-examination about his actions.

     Vice charts these activities, showing how stable he is in his positions and machinations.  When George Bush becomes President, he sees a golden opportunity to push forward something he has learned about from his lawyer, David Addington, the “unitary executive theory”, in which the power of the executive is absolute; the President can, literally, do no wrong. Application of this idea paved the way toward eroding previously firm policies about civilian privacy, foreign policy, and wartime engagement and behavior.  “Where law ends, tyranny begins”—an idea first attributed to British philosopher John Locke (1689) and carved on the Supreme Court building, which flashes briefly during a scene in this film, a meaningful quote.

     Christian Bale is a wonder playing Dick Cheney, who he doesn’t ordinarily look or sound like.  But with the extra weight, prosthetics, and studious attention he gave to media in preparing for the role, Bale is a dead ringer.  Amy Adams as Cheney’s stalwart, tenacious, and adoring wife is likewise convincing.  This is as strong a casting I’ve ever seen for a picture, including Steve Carell as Donald Rumsfeld, Sam Rockwell as George Bush (the younger), and Alison Pill as Liz Cheney.  Bale and Adams will almost certainly be named during the award season coming up.

     Adam McKay’s writing and direction of a subject that is sure to be controversial is, probably, one of his best, even taking into account The Big Short, which won an Oscar for screenplay.  I fully expect Viceto reap accolades during the awards season.

Demonstrates the power of drama in relating some significant historical transitions in the U.S.

Grade:  A                                    By Donna R. Copeland

WELCOME TO MARWEN

Eiza Gonzalez     Steve Carell     Leslie Mann     Diane Kruger

Gwendoline Christie     Janelle Monae     Merritt Wever

     “Welcome to Marwen”—just know that your visit will be a strange one.  Based on a true story, this film by director and co-writer Robert Zemeckis was inspired by a 2010 documentary about the life and work of Mark Hogancamp, a man who was severely beaten outside a bar after his reference to people he was chatting with about cross-dressing.  Prior to this incident, he was an illustrator; but after his impairments (occurring after a nine-day coma and having to relearn how to eat, talk and write), he turned to photography; and to cope with the psychological after-effects, he used dolls and fantasies about them to work through his increased anxiety.

     The film begins with one of these fantasies in which the doll “Mark” (Carell) encounters German soldiers in WWII, and just when it looks like they will capture him, a group of powerful female soldiers rescue him and finish off the Germans.  This is only one of hundreds of scenarios Mark has come up with, in which he draws on the people he meets in his community for his characters (dolls).

     Mark Hogancamp is regarded as an “outsider artist”, one who has little/no educational background, but whose works become highly regarded by connoisseurs.  It’s admirable that he was able to use his remaining skills after the injuries to therapeutically work through the trauma.  Robert Zemeckis’s idea of using this material for a feature film is intriguing, but somehow it doesn’t work.  The actors are excellent (especially Carell showing the confusion and bewilderment of a troubled soul), and the special effects to capture puppets as real people are likewise impressive.  However, the alternations between reality and fantasy fail to engage.  I think another aspect of the film that doesn’t work is the attempt to portray a therapeutic approach—especially one used by an individual on his own. This is a turn-off for many viewers, who are not necessarily able to grasp the value of, for instance, an adult “playing” with dolls.  Unfortunately, I imagine that many will regard this as simply silly, even though it’s not, really.

     On a final note, it’s disquieting to see so many fine actresses wasted, such as Diane Kruger, Gwendoline Christie, and Janelle Monae.  Their roles are minimal.  Merritt Wever is perfect as a sensible, kind helper who is able to see past the weaknesses of Mark. Leslie Mann is featured more than the other actresses, but her child-like voice and manner bring nothing to the table of quality.

Visiting Marwen is likely to unnerve most viewers.

Grade:  C+                                    By Donna R. Copeland

BEAUTIFUL BOY

Steve Carell     Timothee Chalamet     Maura Tierney     Amy Ryan

     And he apparently was a beautiful boy when he was younger, but as the doctors point out, crystal meth does things to your brain.  One of the things, of course, is addiction.  Nic (Chalamet) is engaging and attractive, and likes to have fun with his younger half-siblings.  He makes good grades, and is optimistic about his educational future.  He has a very close relationship with his father David (Carell), and their family is financially well off.  Nic’s stepmother Karen (Tierney) has doted on him from the beginning. There is no lack of love in this family.  So…what could go wrong?  

     This film is excellent in showing the ravages of drug addiction across a family, even when everything else is about perfect.  It’s an important point today when addiction is such a major problem, and this film is meant to show that it can happen to any family, even those who are strong in every way.  The stereotype of drug addiction is of a disadvantaged, racial minority; but now, it seems to have invaded diverse groups of people in the U.S.

    Beautiful Boy is the story of a gifted boy who, for some unexplainable reason, gets involved in drugs.  In Terry Gross interviews (NPR’s “Fresh Air”) with the actual father and son, whose memoirs form the basis for the film, a physician explained that some people’s brains are more susceptible to addiction and its effects, particularly teenagers, whose brains are still developing. Perhaps that accounts for what happens to Nic.

     In short, he is in and out of drug use and rehabilitation, and this goes on for years (from age 17 to 23).  There are desperate calls usually to his father, episodic good times with his family, starts and stops with college, and the gradual wearing down of them all. In addition to their own let-down feelings, David and Karen have to deal with the disappointments of their children when Nic doesn’t show up for special events or leaves abruptly from family gatherings or pilfers cash and sellable items.  Nic’s biological mother Vicki (Ryan) is brought in to help at one point, but it becomes clear that it will take some kind of resolve on Nic’s own part to get his life back on track.

     Carell’s performance as an understanding, patient father is commendable for his capturing the angst, love, and bewilderment that a father undergoes in these circumstances.  The supporting figures Maura Tierney and Amy Ryan are likewise strong in their roles.  Chalamet, who has become almost an iconic symbol of a physically attractive, sensitive young man, takes on the depleted, desperate look and demeanor of a drug addict (losing 25 lbs. to prepare) just to the point where you will still be sympathetic toward him. He is an actor with a great future ahead.

     Despite its high quality of filmmaking, Beautiful Boy may not make it to awards season.  I attribute that primarily to the subject, which is depressing indeed—not excitingly dark—but simply depressing.  I applaud the filmmakers for capturing the addiction experience so well, it almost looks like a documentary.

A profoundly emotional—and realistic—account of drug addiction and its far-reaching effects.

Grade:  B                                    By Donna R. Copeland

LAST FLAG FLYING

Bryan Cranston     Laurence Fishburne     Steve Carell     Deanne Reed Foster     Cicely Tyson

     As is typical for Richard Linklater films, this one is packed full of a mix of humor, discussions/arguments about the government/war/military service, religion, personal responsibility, conflict resolution, expiation of guilt, and experiences of nostalgia and loss.  Three buddies in the armed services during the Viet Nam war meet up unexpectedly when the son of one of them is killed in Iraq during his service.  Larry “Doc” (Carell) is distraught and appeals to his friends to accompany him to bury his son in Arlington.  The three haven’t seen/heard from each other for years, and when Larry enters Sal’s (Cranston) bar, he has to remind Sal to look closely to recognize him. 

    The next day, they go to round up the third buddy who—to Sal’s horror—is now a minister.  Richard (Fishburne) has become as circumspect (sober, married, and reverent) as Sal is somewhat depraved (boozing, single, irreverent and atheistic).  Larry stands somewhere in between, and often serves as peacemaker between the other two.  Sal instantly agrees to go on the journey; whereas Larry has to be convinced.  His wife Ruth (Foster) is effective in appealing to his sense of responsibility and guilt.    This journey will be a meandering one for various reasons, and he and Sal will be at odds much of the time, which provides both entertainment and thought-provoking discussions.

     All three actors are proficient in their very different roles, with Carell having perhaps the most challenging task.  His character is understandably and clearly depressed, but he has to show occasional spunk and wit and still play the grieving father, along with a mix of orderliness and bumbling.  Sal plays the executive role in making decisions, making things happen, but also has a mix of restlessness, blurting out whatever comes into his head, and asking impertinent questions, which actually becomes tiresome after awhile.  Fishburne’s character is someone who was as much a rabble-rouser in his younger days as Sal, but has sobered up and has developed strong Christian moral beliefs.  Cicely Tyson’s cameo role is golden in its poignancy.

     Linklater is gifted in successfully blending so much meaningful content into a story (this one based on co-writer Darryl Ponicsan’s novel), while still maintaining a sense of humor and acceptance of human frailties. Cinematography by Shane F. Kelly, editing by Sandra Adair, and music by M. Graham Reynolds help make the story flow with a natural rhythm and pique interest in the material.  There are some scenes that seem irrelevant and bog down the picture, such as the cell phone store (although this was a time to poke fun at the geezers’ age gap) and Sunday dinner at the Minister’s house. 

     The film is timely in its treatment of the death of servicemen during war, the government’s ineptness at times in acknowledging and being truthful about the deaths and expressing gratitude to families for the loved one’s service.

A Linklater-style road trip for three retired U.S. Marines.

Grade:  B+                                    By Donna R. Copeland

BATTLE OF THE SEXES

Emma Stone     Steve Carell     Andrea Riseborough     Sarah Silverman     Bill Pullman     Alan Cumming     Elisabeth Shue

      This was a full-blown battle, made more public by the macho boasting of Bobby Riggs for weeks beforehand.  It was a contest with a winner-take-all prize of $100,000.  By the time the match between him and Billie Jean King took place, they had an audience of 50 million in the U.S. and 90 million worldwide, with 30,472 present in the Houston Astrodome.  King was passionate in proving that women’s tennis was just as important/entertaining/professional as men’s, and that they should be paid the same.  Male chauvinism was common in the 1970’s, so men were aghast that women should expect such a thing, saying men were stronger, faster, and better than women who were weaker and “couldn’t stand the pressure.” 

     All this seemed to spur King on even more; she was still stinging from Jack Kramer’s (a former tennis star and radio commentator, smoothly played by Bill Pullman) banning women from a major tournament when they demanded to be paid on the same scale as the men.  Later, when Riggs and ABC wanted Jack to be the commentator for the Riggs/King match, King protested, and threatened to withdraw from the contest unless they hired someone else, reasoning that Jack did not believe in women’s tennis.  “Either he goes—or I go.”  She got her way.

     The match is filmed extremely well by cinematographer Linus Sandgren, starting out slower so each lob is carefully shown, and gradually speeding it up to real time, and the music is well chosen by Nicholas Britell.  With a filmography that includes movies about Red Hot Chili Peppers, R.E.M., and Smashing Pumpkins, the directors Jonathan Dayton and Valerie Faris likely had some informed input for the music as well.  Although I enjoyed the music immensely, it was often too loud for my ears, overpowering the drama and dialog.

     Emma Stone and Steve Carell demonstrate their considerable talent in portraying two colorful characters.  Carell’s Bobby is as obnoxious and full of himself as he is supposed to be, which is in stark contrast to Carell as I’ve seen him in real life.  I was especially moved by King as she is shown in the film and beautifully exemplified by Stone; always dignified, magnanimous enough to initiate the arms-around-the-shoulders exit at the end of the match, and keeping her cool amidst rude taunts and tense negotiations. 

     There were a couple of scenes that made me shake my head (a last-minute hair fix just before the major event and Billie Jean King by herself at the end of the match), and sure enough, these seem to be Hollywood elaborations on the real story.  They are unnecessary veneers to a story that is already sufficient in itself.

Battle of the Sexes exemplifies the ongoing struggle between males and females, but in an entertaining manner.

Grade:  B                                    By Donna R. Copeland

DESPICABLE ME 3

Voices of:  Steve Carell   Kristen Wiig   Trey Parker  

Miranda Cosgrove   Dana Gaier   Nev Scharrel   Russell Brand   Steve Coogan   Julie Andrews

     The special effects, humor, and sheer imagination of the Despicable Me series continue to be refreshing and delightful for children.  There were many chuckles from children (and adults, by the way) in the screening I attended, as well as sighs during the tender moments.  Like its predecessors, 3 is mostly entertaining (as it’s meant to be) with colorful animation and special effects, some adventure, and fanciful transports (e.g., a golden car/boat/plane, and a Minion-devised airbus outfitted mostly with bathroom fixtures). 

     This rendition follows Gru (Carell), his wife Lucy (Wiig), and their three daughters, Margo (Cosgrove), Edith (Gaier), and Agnes (Sharrel), as they go to visit the heretofore unknown twin of Gru, Dru (Carell).  It turns out that the twins’ parents got a divorce when they were just babes, with the mother (Andrews) keeping Gru and the father taking Dru to another city.  After the father dies, the now grown up Dru invites Gru to visit him in Freedonia, where he has a prosperous pig and cheese farm, Gru is beside himself with expectations.  This constitutes one of the main themes of the story—anticipating something that may be different from what you expect, requiring some kind of adaptation on your part.  This happens not only to Gru in getting to know his twin, but also to Agnes (Scharrel) when she goes into the forest in search of a unicorn.

     The new character in 3 is Balthazar Bratt, a former child star who, in retaliation for Hollywood’s rejection of him has become a bad boy.  He revels in boasting nowadays, “I’ve been a bad boy!” as he is out for his revenge on Hollywood for cancelling his show, as well as for Gru and Lucy, AVL (Anti-Villain League) agents who have come close to capturing him for stealing the largest diamond in the world.  His escape from them results in their dismissal from the League, leaving Gru in an existential crisis. 

     It’s at just this time that Dru invites the Gru family to visit him.  What Gru encounters is a brother who felt he could never please their father.  It turns out that the father’s nickname was “The Bold Terror”, a kind of villain that Gru used to be.  But now Gru has a wife and family, he has been trying to disengage from that side of his past.  (It should be said here for those who know the previous Despicables, the Minions are none too happy about this.  However, in this rendition they manage to get incarcerated, escape, and, with their ingenuity, be in a position to aid their hero Gru.)

     Dru’s wanting Gru to teach him villainous skills puts Gru in a bind.  But he’s now in such a funk from being fired that he succumbs to Dru’s pleas.  He’s still crafty, though, and the way he hopes to satisfy both Dru’s desires and his own need for recognition by the AVL is to get back the diamond from Balthazar.

     The well-illustrated theme of Gru adapting to changing circumstances is reinforced with his newly acquired conscientiousness in doing what is right and feeling compassion for others less strong.  He is developing a more flexible way of thinking (i.e., seeing that Agnes’ discovery of a goat is just as exciting for her as finding a unicorn) and seems more grounded in living a life of honor.

     I found this update to be entertaining in its story, animation, and special effects, and the music (Heitor Pereira and Pharrell Williams) enjoyable.  It doesn’t have really strong messages for children, but sometimes, pure entertainment is all that’s wanted.  It’s not much different from its predecessors, but that is not likely to bother those who love these films.

Despicable Me 3 should do well at the box office; it was applauded by the audience at last evening’s screening.

Grade:  C+                                    By Donna R. Copeland

CAFE SOCIETY

Steve Carell   Jesse Eisenberg   Kristin Stewart   Corey Stottt

          This is classic Woody Allen with the sharp dialog, serendipitous meetings, and an account of human attractions and their quixotic twists and turns.  Allen is so good at setting up human dilemmas in a way that is fanciful but still realistic to everyday life.  A woman has to choose between two very different men; she makes her choice, but her path, directed by another, continues to connect with the road she did not take.  In this, Allen pits romantic love (which may or may not be lasting) against a stable relationship.  Who’s to say which is better?  I think he tosses that dilemma out to us in this case to decide for ourselves.

          We have the Hollywood mogul Phil Stern (Carell) surrounded by Hollywood glitterati of the time (the ‘30’s).  He’s so caught up in the glamour, he has trouble remembering his nephew Bobby (Eisenberg) who has come from Brooklyn to ask him for a job.  He’s basically a good guy, so tries to help Bobby find a place in his organization.  He also asks one of his assistants, Vonnie (Stewart), to show Bobby around Hollywood.  The two hit it off; he’s smitten right away, but she lets him know that she is already seeing someone.  That person seems to be out of town a lot, so Vonnie and Bobby spend lots of time together.

         Allen is clever in weaving together complexities in relationships, and this is an example of how his stories can be aching and comical at the same time.  In the midst of it, he illustrates how the rumor mill works and how impossible it is to keep something secret (taking examples from his personal life, no doubt).  An additional twist to this drama is Bobby’s life back home in New York.  He has an older brother (Stott) whom he adores, and is seemingly unaware of Ben’s shady business deals.  When things go south for Bobby, he decides to move back to New York and join Ben in opening a night club, which seems to be good for Bobby in maturing and becoming a successful businessman.

          Allen invariably puts his own persona into his films, and Bobby plays that role here in his Jewish background, family, values, and neuroticisms.  Eisenberg pulls it off beautifully, maintaining Bobby’s appeal without going over the top into obnoxiousness or being insufferable—as sometimes happens with these roles.  Carell is proving time and again that he is a gifted actor, able to blend into serious roles as well as comedy, which he was originally known for.  Stewart won awards for her performance in Clouds of Sils Maria, and she shows the same level of talent here as a woman caught in a major dilemma. 

      As a musician as well as a director, Woody selected the jazz numbers playing throughout this film, which heightened whatever mood he was going for and increased the enjoyment of the picture.  Vittorio Storaro’s stunning cinematography has the same effect by using angles and colors to intensify the depth of the viewer’s experience.  This is a visually beautiful picture showing mostly the elite in Hollywood and New York, but with references to the seamier side of life in both places.

          I think Woody Allen lives up to his reputation in Café Society as a gifted filmmaker who does much of the work himself.  The dialog he writes is always crisp and full of tragic-comic witticisms, e.g., a man bleeding on the sidewalk from “cranial ventilation.”  He is also the narrator in this film, which gives it an added touch of interest.

Gifted filmmaker Woody Allen scores again.

Grade:  A                                    By Donna R. Copeland

FREEHELD

Julianne Moore   Ellen Page   Michael Shannon   Steve Carell   Josh Charles

     Freeheld is a moving account based on a true story about a gay woman’s fight for equality at the end of her life.  It’s well balanced and well told, with actors at their best.  It has a dash of humor here and there, which helps to relieve the tension created by a critical illness and treatment. 

       Laurel Hester (Moore) is an ace detective with a close, loyal partner in Dane (Shannon).  With mutual respect, they have each other’s back, and he is aware that she has to fight twice as hard to move ahead in her job because she is female.  They’ve lived in a seaside community in New Jersey all their lives and take pride in it—it also helps them to know residents of the area when they are investigating a crime.

     Laurel has a private life because she has to keep her sexual orientation quiet.  When she goes to play volleyball at a town nearby but out of state she meets Stacie (Page), who is much more “butch” than Laurel, who is blonde and still good looking at 40-ish.  Stacie is a petite, savvy mechanic who likes her motorcycle, and despite such differences in age and interests, they fall in love and Laurel buys a house for them, which Page works hard to remodel.

     They’re happy as clams until Laurel falls ill and her life is in jeopardy.  Suddenly, it’s of utmost importance for Laurel to see that Stacie be able to remain in their house, primarily because it represents their bond.  In order for this to happen, though, Stacie must be eligible to receive the benefits of her partner’s pension, and therein lies the rub.  The county leaders, the “Freeheld”, have agreed unanimously not to grant her wish.

     Enter a potential support and cause of some levity, Steve Carell as Steven Goldstein, a Jewish homosexual with political savvy and connections, although some see him as hamming it up too much.  He certainly sounds outlandish in this conservative community, but he has had experience in rallying sympathizers to a cause.  With some controls exerted by the more practical-minded Laurel and Dane, his work is efficacious.

     Director Peter Sollett and screenwriter Ron Nyswaner present a well-balanced story that could have turned maudlin or one-sided.  They seem to have retained the authenticity of the original story (apparently—as I have not read it), and the relationships, political issues and machinations largely ring true. 

     Julianne Moore is always a star in whatever role she has, and she and Ellen Page—also well talented—achieve a relationship that is warm, caring, and sexy.  Michael Shannon usually plays odd characters, but here he is like a normal guy with basically good principles, and he pulls it off well.  The same could be said for Steve Carell, a natural at buffoonery with a bite of wisdom and satire aptly placed.  I was interested in seeing Josh Charles (formerly in TV’s “The Good Wife”--although he was killed—and in various productions since) in a role he carries well—that of a political figure who wrestles with his conscience.

A good film sure to increase awareness of and sympathy for gay issues.

Grade:  B                                    By Donna R. Copeland