I Am Michael

The performances are uniformly good and Kelly's effort to tell an unbiased story is admirable, but I Am Michael ultimately delivers more in the way of talking points than drama.

Franco's fantastic here. He gives a fieriness to Michael as a gay advocate, then seamlessly slides into borderline madness as he starts accepting that the "voice" he hears is God's.

Kelly is finding his sea-legs as a director.

Despite some wooden line readings, Franco gives himself fully to the challenge of rendering Glatze with truth and resolve.

Mr. Franco broods and puzzles and vacillates. But he often seems abandoned by a director whose approach is so noncommittal and dramatically limp that it strands the actor, and his character, in a bland purgatory of conflicting motivations.

A soberly stylish, impressively non-judgmental portrait of a controversial real-life case of transformation.

Whether it's attempting to stay too closely to its source material, or if nobody actually thought about writing a climax to it, the film sputters, stumbles and peters into nothingness.

While the film certainly isn't a masterpiece, Kelly has created a film that dares to be different.

Michael is not without his weaknesses and despite declaring that he no longer identifies with being a homosexual, it does not necessary mean that he ceases relationships with the same sex.

Features silent bar brooding, sad piano-scored walking and absolutely no fun, anywhere, ever. The sex isn't fun, the politics isn't fun, the prayer is determined but never ecstatic or tender.