Un nouveau printemps

At first glance we may think we are dealing with a gay movie. But it's not like that. It is a film full of clichés in which a dying mother wants to have the perfect relationship with her children, a relationship she has not had all her life until now. Like many people facing death, she can afford to be more open-minded and emotional and closer to her children. The fact that along the way between her boy and another boy who helps her forms a friendship that leads to sex, is not likely to convey something important in the film. In fact, the problem with the film is precisely this poverty of the message it was trying to convey ... for this reason the film is weak, somewhere at grade 6 at most.

The two male protagonists in this film were clearly chosen for their pectorals rather than for their acting ability, and that about sums up the general quality of this forgettable drama. With the exception of S. Lue McWilliams who, as the dying mother (and only grownup), has too few moments on screen, the acting is very "daytime soap" – in short, overwrought and about as subtle as a crutch. Karmine Alers in particular starts at about 120% pit bull and ramps up from there. In most of her scenes you're too worried that she's going to have a stroke to pay attention to what she's saying. The scene in which she supposedly softens enough to expose her "true soul" by singing, a cappella, a banal Britney Spears knockoff is almost too painful to watch. The real dog of this movie, however, is the direction and the screenplay, maladroitly handled in both cases by Richard LeMay. LeMay shows that he understands approximately nothing about pacing, and there so many crescendo moments that the overall effect is numbing rather than engaging. The characters fight about the same things, over and over. They say the same terrible things to each other, over and over. They come to moments of gut-wrenching emotional crisis, over and over. And then they make breakfast. It's about as amateur as it comes, and LeMay cries wolf too many times. When we finally reach the final scene, Elliot's deathless lines can only provoke peals of laughter. For the entire rest of this film, his character has displayed the emotional depth of a garden gnome, and his sudden moment of deep, voiced-over wisdom is an unbelievable, unearned fortune-cookie aphorism.

Better than expected.... It's usually a danger sign when the same person writes, directs, produces a film, but in this case, it worked out well. Good choices of actors too. Elliot and Laura are brother and sister who finally go visit mom, who is in the late stages of cancer. They are surprised to find "Ted" living in the house with her, and part of the plot is figuring out how he fits into the picture. There's a love story (or maybe its just a "lust story"...), some family secrets, good times, bad times. The mother did an amazing job as someone realizing her time is almost up, and wants to connect with their kids before she passes away, and maybe impart some lessons she has learned along the way. Similar to Big Eden, from 2000 ! Family members return to the family home to care for a loved one, meet the locals, make life-changing decisions. Elliot is a little bit schizo, but if everything went smoothly, we wouldn't have much of a plot line. The final voice-over epilogue was a little weird... they probably should have filmed another scene, or maybe it didn't come out as they planned, so they tried to wrap it up with the voice-over. Good story. pretty realistic. Lemay gets credit for not making the characters too campy and predictable.

Honestly, I think this is one of the best gay theme movies in 2013. Despite it's low budget film, everything run perfectly well. The great part is the casting. Richard LeMay, the director, really done a careful and brilliant job to pick up the only six casts. Well, he is also the writer, I guess he know know pretty much a fit character to his own story.

Like I said, it's low budget. The casts only six and 98% appeared only the fourth main actors and main location just in big house with big garden. But, surprisingly, I didn't get bored, a good cinematography really helped with that problem.

About the story, I have to say that it's not really original. I mean, I have seen some gay interest movie with the same main story, sick mother/father/children, broken family members, guilt, reconciliation, and new future, but somehow, I like "Naked As We Came" twisted ending. Well, I don't really expect that ending and still can't figured it out yet, but mostly I have some in mind. The ending really help with whole plot story.

Love the character. Actually, this movie still a simple story, I figure it out why Richard LeMay picked conspicuous characters for the four main actors. It was great, like to see every character develop as it's be. The only lack is Benjamin Weaver's character as Ted Kingsley. He has the worst acting and likely incomplete character.

The ending? Well, I guess everyone has their own dream ending. One last thing, I think this movie more likely called as family movie than gay theme/interest movie.

I'm highly recommended this movie. I just hope it has bigger budget, could be very promising movie.

not for story, who is far to be original. not really for cast - except S. Lue McWilliams who reminds few roles by Charlotte Rampling. maybe, interesting for first/last images, for music, for the location and for art of measure of director. but, surely , interesting for the imagine an European director, cast and manner to use the story. the delicate European / maybe French/ flavor is its basic virtue.the big sin - performance of Benjamin Weaver. than, the end. it is a family movie and a gay movie. and the impression after its end is far to be disappointed. because, it is not great or a revelation. but it is decent fresco of a family and a fragile relation , all in a not uninspired balance. so, just interesting.