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Boy Erased (2018) - Movie Review

Boy Erased (2018) - Movie Review

Boy Erased is a 2018 American coming-of-age drama film based on Garrard Conley's 2016 memoir of the same name. It is written for the screen and directed by Joel Edgerton, who also produces with Kerry Kohansky Roberts and Steve Golin. The film stars Lucas Hedges, Nicole Kidman, Russell Crowe, and Edgerton, and follows the son of Baptist parents who are forced to take part in a gay conversion therapy program.

Trailer Movie Boy Erased (2018) - Movie Review

Boy Erased (2018) - Movie Review
The film had its world premiere at the Telluride Film Festival on September 1, 2018, its international premiere at the Toronto International Film Festival on September 11, 2018, and is scheduled to be released in the United States on November 2, 2018, by Focus Features.

Jared Eamons[a] (Lucas Hedges), the son of a Baptist pastor in a small American town, is outed to his parents (Nicole Kidman and Russell Crowe) as gay at the age of 19. Jared is quickly pressured into attending a gay conversion therapy program – or else be shunned by his family, friends, and church. It is within the program that Jared comes into conflict with its head therapist (Joel Edgerton).

  • Lucas Hedges as Jared Eamons, Marshall and Nancy's son who is discovering his sexual orientation (based on Garrard Conley)
  • Nicole Kidman as Nancy Eamons, Jared's mother and Marshall's wife
  • Russell Crowe as Marshall Eamons, Jared's father and Nancy's husband, a Baptist pastor
  • Joel Edgerton as Victor Sykes, the head therapist at a gay conversion therapy program
  • Joe Alwyn as Henry
  • Xavier Dolan as Jon, a fellow gay man in the conversion program
  • Troye Sivan as Gary, a fellow gay man in the conversion program
  • Cherry Jones as Dr. Muldoon
  • Flea as Brandon
  • Madelyn Cline as Chloe
  • Emily Hinkler as Lee
  • Jesse LaTourette as Sarah
  • David Joseph Craig as Michael
  • Théodore Pellerin as Xavier
  • Britton Sear as Cameron
  • Matt Burke as Simon
  • David Ditmore as Phillip


On June 8, 2017, it was revealed that a bidding war had begun between Netflix, Annapurna Pictures, Focus Features, and Amazon Studios for distribution rights to a film package that would star Lucas Hedges and Joel Edgerton, with Nicole Kidman and Russell Crowe and be directed and written by Edgerton and based on the provocative memoir titled Boy Erased: A Memoir. On June 21, 2017, it was announced that the bidding war for distribution rights for Boy Erased had boiled down to Netflix and Focus Features and the latter ultimately won the rights.

In the press release, director Joel Edgerton spoke proudly of the project, stating:

I'm excited to work with an ensemble of actors, seasoned and new, to bring Garrard's story to the screen. I think Focus is the perfect partner on this, and I will always thank Garrard for trusting my passion for his life story. I can't think of a better reason to get behind the camera again.

In August 2017, the majority of the supporting cast was announced. In September 2017, Joe Alwyn and Madelyn Cline joined the supporting cast as well and principal photography on the film began September 8, 2017, in Atlanta, Georgia. In April 2018, re-shoots took place.

The film had its world premiere at the Telluride Film Festival on September 1, 2018. It also screened at the Toronto International Film Festival, first for the press and industry on September 8, 2018, and then for the public on September 11, 12, and 15. The film was scheduled for a wide release on September 28, 2018, but this was pushed back to November 2, 2018.

On the review aggregator Rotten Tomatoes, the film holds an approval rating of 85% based on 34 reviews, with an average rating of 7/10. The website's critical consensus reads, "Anchored in empathy by writer-director-star Joel Edgerton, Boy Erased proves the road to complex, powerfully performed drama can also be paved with good intentions." On Metacritic, the film has a weighted average score of 69 out of 100, based on 10 reviews, indicating "generally favorable reviews".

Who benefits from gay conversion therapy? Do the parents, who send their queer and questioning kids to be “cured” of their same-sex attractions? Do the young people who are brainwashed into denying the urges they believe to be sinful? Does God? The answer, at least according to Joel Edgerton’s earnestly anti-heteronormative drama “Boy Erased,” appears to be that only the charlatans who run such camps seem to thrive, while everyone else winds up hating themselves.

“Boy Erased” isn’t the first film to share an insider’s perspective of how these camps operate. It’s not even the first film this year: An empowering, female-driven look at such a facility, “The Miseducation of Cameron Post” won the dramatic competition at Sundance. But Edgerton takes a different, more respectful tone to the subject, not outright ridiculing those who believe that homosexuality is a choice, but preaching to the converted all the same — where the “converted” in this case aren’t so-called “ex-gays,” but those who’ve come around to the realization that maybe Christians could stand to evolve as well.

Edgerton, who is Australian, enlists two of the country’s top actors, Nicole Kidman and Russell Crowe, to play a pair of devout Arkansas parents whose faith is challenged when they discover that their son Jared (“Manchester by the Sea” co-star Lucas Hedges) may be gay. Jared himself doesn’t know, which is perhaps the most honest thing the film depicts, dramatizing the way someone raised in a conservative religious community wants nothing more than to be “normal,” frightened by his attraction to other boys and desperate to “fix” whatever is wrong with him. “Boy Erased” is true to that turmoil, telling the story from Jared’s point of view while also treating his parents’ convictions as valid — in their own minds, at least.

Jared’s dad, Marshall, is a Baptist preacher (he also owns a local Ford dealership) who loves to remind his congregation that they are all imperfect people and that only faith can make them whole. One would never guess from the expression on Jared’s face during that sermon what kind of secret shame he might be hiding — in fact, the movie is oddly withholding when it comes to acknowledging him as a sexual being, as if doing so might be manipulative or exploitative: Its lone sex scene features a horrific encounter with a college crush (Joe Alwyn), who brutally rapes Jared, then calls his parents to out him.

When his mom, Nancy, hears the news, a single tear slides down her cheek, and she retreats to her room, where no one will see her mascara run. Marshall is more proactive, calling two church leaders to advise him on what to do. Following their advice, he confronts Jared directly, asking the boy whether he sincerely wants to change and then sending him to conversion camp, a place run by self-anointed therapist Victor Sykes (Edgerton) and a group of men who, we are led to believe, have “overcome” their homosexuality through sheer willpower — plus Flea as an aggressively homophobic drill sergeant type who coaches them on masculinity.

Edgerton never goes as far as “Cameron Post” did in ridiculing gay conversion therapy, intuiting that even a relatively restrained portrayal will make audiences’ blood boil, while a more snide or disrespectful approach might alienate those who believe in such methods. The ultimate goal of Edgerton and his creative collaborators may be to put an end to conversion therapy (end-credits statistics suggest that 700,000 young people have undergone such programs), but that will only happen if concerned parents can be convinced that it does more harm than good — which is why a pair of third-act scenes between Jared and each of his parents have such a powerful impact (bring a hankie).

The trouble with such films — really, with any story set in a rigidly conservative institution, be it a mental hospital (“One Flew Over the Cuckoo’s Nest”), boarding school (“Dead Poets Society”), boot camp (the first half of “Full Metal Jacket”), or conversion program (“The Miseducation of Cameron Post”) — is that they inevitably feel like prison movies, falling back on reductive tropes (like the idea that the authority figures are hypocrites) to make the case that the only solution is to break out. It’s a standard cliché, for instance, that someone winds up being pushed to suicide, thereby serving as a wake-up call to outsiders that there’s a problem. The only question here is who that victim will be.

Real life is more complicated than that, and Edgerton shows an admirable sense of restraint, even when hitting all the usual beats. He includes moments of quiet introspection for the characters and the audience alike, staring at the back of Jared’s head as he presumably tries to pray the gay away (although the movie never answers whether he’s able to reconcile his sexuality with his faith, or else is forced to leave the church into live his truth). Sykes needn’t be depicted as a villain for his methods to be deemed harmful, and it’s actually more interesting if some of Jared’s camp mates believe in the program. The film might have been stronger if it had given some of the other teens more of a chance to express their views.

Audiences who know Xavier Dolan’s flamboyant reputation as a filmmaker may be surprised to see his near-total transformation into the sullen, emotionally shut-down Jon. Australian online personality Troye Sivan offers the opposite perspective, playing bleached-blond Gary, who offers Jared tips on how to fake his way through the program (he also supplies the soundtrack with two heart-rending ballads, including the terrific original track “Revelation”). Despite his forlorn Charlie Brown-like face and confidence-lacking posture, Hedges looks perhaps the least gay of the group — which is itself an important statement, since communities like those in Arkansas still conflate homosexuality with effeminacy.

If “Cameron Post” served as a useful tool for teenagers, “Boy Erased” feels like its greatest value will be to parents, particularly those with LGBT children of their own — and Crowe and Kidman have seldom been better in their supporting roles. So often, parents view this news as a reflection on themselves, searching to understand their own failings, or else looking for a way to repair the problem. For Garrard Conley, whose memoir inspired Edgerton’s film, sharing his story was the key to repairing things with his parents. Maybe there’s a lesson in there for us. There is for me: My father also lives in Arkansas. Since I came out, we have come to an arrangement: I never talk about my private life, and he never asks — which means, for nearly the last 20 years, he hasn’t really known me. That’s what it means to be a boy erased.

Telluride Film Review: 'Boy Erased'

Reviewed at Telluride Film Festival, Sept. 1, 2018. (Also in Toronto Film Festival — Special Presentations.) Running time: 115 MIN.

Production: A Focus Features release and presentation, in association with Perfect World Pictures, Anonymous Content, of a Blue-Tongue Films, Anonymous Content production. Producers: Kerry Kohansky-Roberts, Steve Golin, Joel Edgerton. Executive producers: Rebecca Yeldham, Nash Edgerton, Kim Hodgert, Tony Lipp, Ann Ruark.

CREW: Director: Joel Edgerton. Screenplay: Edgerton, based on the memoir by Garrard Conley. Camera (color): Eduard Grau. Editor: Jay Rabinowitz. Music: Danny Bensi, Saunder Jurriaans.

WITH: Lucas Hedges, Nicole Kidman, Joel Edgerton, Russell Crowe, Flea, Joe Alwyn, Xavier Dolan, Troye Sivan, Britton Sear, Jesse Latourette, David Ditmore.
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