Un nouveau printemps

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.

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.

The two women in the movie are the only ones worthy of any mention. However, as some other user already pointed out, Laura (played by Karmine Alers) is a cliché of the control freak and her singing moment is too soapy to be taken seriously. S. Lue McWilliams, however, is great as Lily. I think she doesn't over do it - even though she has cancer, she's the one in charge of keeping the movie light and entertaining with her brutal honesty. The weakest links are obviously the men and their expressionless faces. By looking at LeMay previous work, you can tell they were chosen just because of their physique - but he failed to create any kind of connection or memorable dynamic between the two of them even when they have some "intimacy". I did not hate it, I had a good time with it and we should also appreciate the fact that homosexuality is taken as an everyday thing and not a big revelation or the heartbreaking point in a movie that was already battling with other clichés of its own.

Naked As We Came deserved so much attention. it's a pretty emotional and beautiful!!