I was surprised at a couple of things in this movie: I was surprised I didn't hate Nicole Kidman in it (in fact, I've refused to watch her in anything since I saw Margot at the Wedding, which could have been good, but was not. I was also surprised that the movie managed to take a subject that is inherently sad and instead of dissolving it into an overwrought, maudlin mess, it handled the subject delicately, with absolutely the right amount of... sad... and mixed in the positive without it seeming like a screaming, triumphal march. It is balanced, measured, and attacks with a light touch instead of a frying pan over the head.
And let's be honest, the writing is brilliant, but what is equally amazing is director's John Cameron Mitchell's use of restraint, especially considering that his previous credits are the singularly glam Hedwig and the Angry Inch and the overworked, (OMG!1! Real sex scenes?!) Shortbus. And while Mitchell does tend to a dwell just a second too long on some of the surroundings (their house, the comic book artwork. etc.) he avoids lingering overlong on metaphors like nouveau directeur Shanley in Doubt.
Of the two main actors, I felt a greater sense of devotion from Aaron Eckhart (who is gorgeous, by the way), but Kidman actually was able to show a range of three different faces in this go-around. (This is a 33.3% increase in acting ability from Skeletor!) Kidman is best in scenes with her sister (Tammy Blanchard) and mother (Dianne Wiest), but is, frankly, out-acted by Eckhart in their scenes together. But at least the gap is small.
Score: 9/10
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