Slow pace in the most part of the movie.

Don't Believe the Hype

a film so unique, intoxicating and bizarre that it not only demands another viewing, but is also forgivable as a satirical comedy where the jokes eventually take the back seat.

It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties.

To begin with, yes, I understand this is a Canadian film, which by nature has to be "nice" and cute. But there is really nothing funny, cute or nice about pedophilia. The beginning of the film opens up and promises a harsh, in-your-face slice of life for an underage male prostitute (who honestly does a decent job...I seriously felt sorry for this actor for taking this role/being exposed to this subject matter). But then starts to get "cute" with heart-warming "awwwwe..." moments (remember: Canadian) that you would almost expect on any TV sit-com as it wraps up with its obligatory schmaltz. There are in fact a couple of interesting plot-twists, but they are underplayed by the lackluster writing (and acting), made-for TV filmography and EXTREMELY predictable, linear writing. We actually watched the out-takes/cut scenes which reveal an even worse writing imaginable (someone at least had the sense to hire a very good editor). I would say, if you happen to be a fan of "Nip/Tuck" or want a "feel good" movie about pedophilia knowing it will all work out in the end, then sure...watch it. If not, there are much more accurate, hard-hitting and blunt dramas out there.

Despite some weakness to the credibility of the plot development, I enjoyed this film from start to finish. The ending, although perhaps a little soppy, was what I was hoping for although pushed a little far by Boon returning, almost instantly, to his former teen lover of twenty years past and her boy.The part of Nathan was beautifully and convincingly portrayed by Branden Nadon who, I felt, gave a stunning performance as the hardened streetwise prostitute who has just the same needs and desires as everyone else. The most poignant lines for me were where he said he just wanted to be a good kid and to have a father to help with his homework and go fishing and camping.Boon and Nathan become slowly attracted despite Boon's reluctance to get into any relationship. Boon's dying father did not provide him with the paternal love and guidance he would have wished for. This reluctance also shows through when he tells his former teen lover that he is not the same man that she knew - he perhaps fears their relationship might be rekindled and him having to take responsibility. Boon strikes me as a character who wishes to avoid responsibility for himself or others. He doesn't wish to collect Nathan from the police station whilst trying as hard as he can to build barriers between them for fear of them becoming closer.Nathan's craving for a paternal figure and someone to take responsibility for and care for him are consistent with my own real-life experiences. Sadly there are too many neglected and damaged youngsters in need of love and affection. The desperation to find someone to fill that void can sometimes lead to undesirable situations.This is definitely a feel-good movie which I would happily recommend.

*** Some BIG spoilers about plot development follow, so be warned *** I caught this movie a few days ago and I've been thinking about it ever since. I almost never write movie reviews here. I'm glad to see a version of this film has made it to DVD. It is hard to explain exactly what makes this such a great film to me, but writing as someone with a few father/son issues of my own this movie has unexpectedly and profoundly affected me.The performances from the leads are great, especially from Branden Nadon and Dylan Walsh, and the story moves along well. Young Branden is just excellent here - he breathes real life into his character - making him both toughened and vulnerable at the same time. Where is he? We need to see more of him as an adult actor. The script may become a little unrealistic at the end to push us towards our happy ending, but I can forgive it that because it's the ending I was hoping for. Some of the other characters are only sketched, but they are all carefully positioned to support the two performances at the heart of this story. I challenge any audience to remain unmoved by the final scenes between Boon and Nathan. How could anyone want anything else for these characters? Love and redemption win for them both, and they find it in each other. I can honestly say that nothing on film has moved me more than this for a long time.If you're used to a diet of slick, multiplex fodder then some of the production values may disappoint you occasionally, but none of that gets in the way of the telling of this neatly crafted little story.Dave Schultz is to be congratulated for creating a very moving independent Canadian film on what I imagine was a limited budget. He successfully navigates a taboo subject to create a little gem of storytelling about fathers and sons.And the track over the closing titles "Whisper in Time" by Bad Religion is killer! Very appropriate.Recommended.Greg

I gave this a 9 out of 10, which is extraordinary for what, in many ways, is a pretty bad film. Sometimes a movie can touch you, like this one does, even though you know it has some terribly bad aspects like cardboard-cutout characters and unbelievable plot turns. In a movie that often has the complexity and production values of an ABC Afternoon Special, there is the stirring performance of Branden Nadon as Nathan, a young male prostitute, latching onto a drifter he wants to be his ... father figure? lover? both? There are many unanswered questions here, opportunities missed, time spent on uninteresting plot lines. But instead of walking away in disgust, Nadon's performance and character just leaves you hungry for more, and wishing scenes had been expanded. There's a scene where Nathan tells a gay teen who has just kissed him, "I just want to be a good kid," and it so excruciating and sweet and sad you wish the scene had gone on forever. When Nathan accompanies the drifter to the drifter's home town, none of the people he encounters there know how worldly he is, or how wounded he is, and how he longs to belong to someone. It's a poignant performance you won't easily forget.