It would have been very easy to turn this film into another cliche. The fact that it isn't one is, in fact, almost unbelievable. The script is largely to thank for this, avoiding stereotyping as far as possible (some degree is inevitable) and not dividing characters into "goodies" and "baddies". Sure, you'd have to be dead not to love Martin Donovan's character (he sports a very convincing British accent for the role), but even the horrible, child-battering, evil boyfriend (Ian Hart) has various aspects to his character, which allow one to to swallow the fact that the mother (a brilliantly restrained performance from Joely Richardson) is willing to give him a second chance.

Maybe the most refreshing aspect about the film is that it does not for a moment try to preach. It is far from politically correct and shows that gay men can be childish and insufferable, as much as they can be normal run-of-the-mill type fellows. We are spared the "gym queen health freak" image as well as the camp image of gays by Donovan and Jason Flemyng (although the latter does get to show off a rather cute butt). The child, played by remarkable youngster Sam Bould, is neither cute and precocious, nor too obviously traumatised; another saving grace.

The film is about various things: child abuse, divorce, sexual fulfilment, sexual identity (both straight and gay), relationships, commitment; the list is long. It is complex, intelligent and features one of the most convincing trial scenes I have ever seen on film. A superb achievement by director Angela Pope and her (perhaps surprisingly) largely female supporting crew.