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In The Boys Are Back, a film based on the memoir by Simon Carr of the British newspaper the Independent, is about a character named Joe, a sportswriter who has a five year old boy living with his mother in southern Australia. Joe is away from home often and mostly sees the boy, Artie (Nicholas McAnulty) on holidays or the few times he can get away. He loves his wife (Laura Fraser) and kid a great deal, and his life, as they say in the movies, is turned upside down by his wife's passing from cancer. Suddenly he finds himself with Artie 24/7, a boy who doesn't grasp what has happened fully with his mother's death (Artie, rambunctious but not annoying, asks Joe at one point if he can die so he can be with his mother again). On top of this for Joe is his teenaged son Harry, (MacKay) from a previous marriage, who comes to visit and adds another to his juggling of being a single-father-widower and top sports writer.

There's other things that sort of 'happen' to Joe as well in the film, such as a friendship (but not quite romance, thank goodness for us hoping for a lack of contrivance) with a single mom (Emma Booth). And it happen in a fairly realistic context of sudden grief that Joe has while taking care of his small boy, which he's never had to really take charge of before (we get the sense he left most of the child rearing with both of his sons to their respective mothers), and as a easy-going but firm parent has a philosophy of "just say yes", meaning anything goes, except when he says so.

His source material is a memoir by Simon Carr, which was more just a collection of musings and thoughts and little anecdotes as a single father as opposed to a coherent narrative. But what unfolds is just simply this story, more of a character study, about parenthood and the nature of a father-son bond that mostly the director Scott Hicks takes without too much sentimentality. He and his screenwriter accomplish at best something we don't see too often in movies: a sympathetic man, a father in a tough situation, and a little boy who seems simple enough but has his own complexities and nuances (McAnulty is great at getting the exuberance and frustration of a six year old, particularly one without a mother, and is never less than genuine). And then when Harry is thrown into the mix then the complex relationship builds as it becomes a father-son-brother story, with scenes that reveal how little of a bond there really is between Joe and Harry, and how they both know it needs to change now or never.

Another thing one must commend upon is Clive Owen, who is perhaps the paramount reason to see the film. It's a minor revelation after years of awesome action films (Shoot em Up) and thrillers (Duplicity) to see the guy get so much in touch with a torn and frayed character like Joe. For one thing, we see him cry, but its only in two crucial scenes, one of them while on a telephone with Harry as he greatly holds back tears when asked if anything is wrong, then later on in the other scene having his sob in the middle of a grassy field. It sounds like a character that could lead to some cliché- a tough no-nonsense sometimes-drinker sportswriter who has to put up with two kids- but Owen makes Joe fascinating to watch at every turn. Especially since, frankly, it's also equally impossible along with the crying to picture Owen acting so well off of McAnulty, who has had relatively little experience. Watching the two of them together go back and forth, and then later on as well with Owen and MacKay, is the heart of the picture.

The film is crafted with a lack of cynicism, with an eye for the way family works in times of trouble, and as well for luscious vistas from down under in Hicks' own home areas of south Australia. But there are a few things that keep The Boys Are Back from being a must see. There is a guitar score by Hal Lindes that pops up with an irritating precision, much akin to something like Brokeback Mountain, where we're made to suddenly feel something be it in a montage or a simple cut-away, and it becomes old-hat pretty quickly as the only significant orchestration. Also, a plot device that should work more but doesn't: Joe's wife appears several times in the film as a sort of ghost or just presence of comfort to give some advice or listen to Joe's own fears, and its just hokey, especially when we're told that it's not only Joe but his mother-in-law seeing her daughter, and at the end giving Joe a piece of encouragement regarding a convertible that had me roll my eyes. It's a shame, since everything else around those flaws make up some of the finest non-sentimental familial-drama scenes I've seen this year. 7.5/10

A brilliant movie with emotions perfectly emoted by characters very well etched by the writers. That's what I would like to say about this movie in one word. The director has blended all the factors into one...be it the shots, the music, the characters, the story...all into one. And he has done it in a brilliant way that I felt that I was with those characters living with them. Clive Owen, Laura Fraser, Nicholas McAnulty, George Mackay all did a wonderful job. I did not have any expectation while going into the cinemas to watch this...and when I got out i was feeling very refreshed... A good movie...I recommend it to all.

Mention Clive Owen, and chances are you'll think of that suave persona playing no less than roguish characters ranging from secret agents to well, erm, the go-to man if you want things done. Like Jackie Chan in The Spy Next Door, he's about to discover that the biggest challenge of his cinematic career is parenting, and in The Boys Are Back, Owen sheds his larger than life, indestructible spy characters for the role of Dad, and a complicated one too in having to reconnect with two boys from different marriages.

Based on the memoirs by Simon Carr, Owen stars as Joe Warr, a British sports news reporter now living in Southern Australia with his wife Katy (Laura Fraser) and son Artie (Nicholas McAnulty). But an unforeseen tragedy forces him to rethink his priorities in life, and figure out just how to cope with bringing up a kid, having no experience when he abandoned his ex-wife and his son Harry (George MacKay) from a previous marriage. So he hatches what he thought was a brilliant plan, and that's to bring Harry to Australia, and together, as a trio, would seek out new adventures in their parent-child relationship, imposing no rules other than to listen to him when commanded should the boys get out of hand.

The opening sequence would give rise to a certain expectation of how this film would play out, and little would you guess just what the beach going public was cursing at Joe for. It's this no holds barred growing up adventure that elevates this beyond just another movie with mourning and longing, where the protagonists realize that their unorthodox ways of bonding together, forging strong family ties, is just as easy and fragile as it is to be torn down.

Scott Hicks doesn't sugar coat the film with saccharine sweet moments, but instead offers some real pragmatism in what one would expect in a household lacking a woman's touch. And as a male I too abhor household chores unless it's absolutely necessary, so watching how the art direction of the Warr household just brought out that smirk that the filthy pig sty, erm, isn't far off from personal experience.

But it's not always just about the boys, as the narrative did offer a sneak peek into another what if moment, where budding romance with Laura (Emma Booth) was suggested at, though smartly worked on in not allowing it to overshadow the examination of the main relationships in the film about a father's attempt to connect with his sons, and them with each other. You'd wish for more given Booth's fine performance as the divorcée giving out all the right signals, only being frustrated that they're not acted upon with some degree of sincerity, with that unfair feeling of always being used.

For those familiar with what Clive Owen does best in his cinematic, larger than life personae portrayed on film, this role of Joe Warr would lead you to believe the the actor certainly has dramatic chops for more serious, father roles even. With excellent tracks by Sigur Ros, The Boys Are Back is one film that manages to get under your skin and make you feel very much for the dysfunctional family trying to find its rudder in the confused world they live in.

Clive Owen shines once again as husband and father dealing with loss. Although the story seems like the familiar one we have seen before in many films like this, the direction, script and acting really do go through the many complexities of the characters. Scott Hicks shows us how flawed the father is. Allan Cubitt's script works great because of all of Owen's input and ideas to it. The young George MacKay gives a standout performance as the teenage son dealing with many issues. George actually has the most important and revealing scene towards the end of the movie. Would definitely recommend this film.

this was a very interesting film to watch but by no means gripping. Certainly a lighter role for clive Owen after Duplicity and The International and he is of course faultless in his execution of the role as journalist Joe Carr showing great vulnerability in his relationship with women in general, notably his two wives and then his two sons Arty and Harry who live apart. There are a lot of sensitive moments and much is overplayed, though personally the death of his wife I think is not played enough and the grief of the family seems somewhat hollow to me. Laurel seemed too available and not involved enough in the story and can someone explain what the party was all bout at the house when Joe Carr was away. Who were the uninvited guests and how did they get into the house? Didn't get that at all, not at all! Another film which promises a lot but delivers little, touching on serious family issues but not really addressing them.