If you are like me and think that you have seen one too many gay coming-of-age films (i.e. "Get Real" or "Beautiful Thing") and are getting tired of the whole cliche-ridden genre, then I urge you to take a chance on "Edge of Seventeen". You might walk away from it feeling refreshed and pleasantly surprised.
Director David Moreton's honest and understated screenplay makes this film a cut above the rest. It neither succumbs to cliche, nor does it it pander to the audience's expectations. It also works in the film's favor that it doesn't aim to be a straight-friendly crowd pleaser. Instead, it is a quieter and no-frills portrayal of what it is like to grow up as a gay teenager. The sex scenes in "Edge of Seventeen" are also genuinely erotic and sensitively portrayed. They are realistic not because they are graphic, but because of the emotional candor that comes from them.
"Edge of Seventeen" is also extremely well-acted by a committed cast of actors, most of whom make their screen-acting debuts here. Chris Stafford gives one of 1999's best performances as Eric. What I liked about Eric is that Moreton does not paint him as a hero or a saint, but rather as a vulnerable kid who slowly tries to assert his sexuality, while not always making the right decisions. It is also very moving to see how he struggles to find acceptance and validation not only from his family and his friend Maggie (played nicely by Tina Holmes) but also from his new gay peers. The scene where he phones Rod on the pay phone is a good example of this.
The ending is another reason why "Edge of Seventeen" stands out. Rather than tying everything up in a neat, little resolution, it leaves many questions remaining, many issues left unresolved. But it is still a satisfying ending because it gives the audience a sense of hope. It doesn't ignore the fact that our decisions may bring about as many sacrifices as they do rewards.
Ironically, I think the uncompromised honesty is the reason why it didn't do as well commercially as movies like "Get Real" and "Beautiful Thing." Unlike these two films, "Edge of Seventeen" is a more serious and understated film that doesn't rely on trite gay jokes and sassy "fag hags" and drag queens to get laughs. In other words, it achieves its truthfulness by not reducing itself to a crowd pleaser. Also, while the main character, Eric, is very likeable, he is not without flaw. I think this makes it easier for a viewer to relate to Eric as he attempts to find self-acceptance and belonging. For these reasons, "Edge of Seventeen" beathes life into the gay coming-of-age genre.
Director David Moreton's honest and understated screenplay makes this film a cut above the rest. It neither succumbs to cliche, nor does it it pander to the audience's expectations. It also works in the film's favor that it doesn't aim to be a straight-friendly crowd pleaser. Instead, it is a quieter and no-frills portrayal of what it is like to grow up as a gay teenager. The sex scenes in "Edge of Seventeen" are also genuinely erotic and sensitively portrayed. They are realistic not because they are graphic, but because of the emotional candor that comes from them.
"Edge of Seventeen" is also extremely well-acted by a committed cast of actors, most of whom make their screen-acting debuts here. Chris Stafford gives one of 1999's best performances as Eric. What I liked about Eric is that Moreton does not paint him as a hero or a saint, but rather as a vulnerable kid who slowly tries to assert his sexuality, while not always making the right decisions. It is also very moving to see how he struggles to find acceptance and validation not only from his family and his friend Maggie (played nicely by Tina Holmes) but also from his new gay peers. The scene where he phones Rod on the pay phone is a good example of this.
The ending is another reason why "Edge of Seventeen" stands out. Rather than tying everything up in a neat, little resolution, it leaves many questions remaining, many issues left unresolved. But it is still a satisfying ending because it gives the audience a sense of hope. It doesn't ignore the fact that our decisions may bring about as many sacrifices as they do rewards.
Ironically, I think the uncompromised honesty is the reason why it didn't do as well commercially as movies like "Get Real" and "Beautiful Thing." Unlike these two films, "Edge of Seventeen" is a more serious and understated film that doesn't rely on trite gay jokes and sassy "fag hags" and drag queens to get laughs. In other words, it achieves its truthfulness by not reducing itself to a crowd pleaser. Also, while the main character, Eric, is very likeable, he is not without flaw. I think this makes it easier for a viewer to relate to Eric as he attempts to find self-acceptance and belonging. For these reasons, "Edge of Seventeen" beathes life into the gay coming-of-age genre.