Average Rating: 
Rating:  - All the light and dark of the heart
It is not surprising to me that viewers are so quick to bandy labels around while discussing L.I.E.. Pigeonholes make matters of the heart that are otherwise complicated and hazy, easy to deal with for those who hate to think or be challenged. If that's what the creators of this excellent film wanted to do, they would've issued out black and white cowboy hats to the actors.But this movie is not simplistic. Listening to the commentaries by both the director, Michael Cuesta, and Brian Cox (Big John), I noticed that neither ever utters the word "pedophile" in relation to Big John (In fact, the film itself shows he not only desires young teenagers, but young, adult men of 18-21 range, and women as well). Nor do they peg Howie as a "gay youth"--in fact, they both deny that Howie's sexual identity is set. That's because L.I.E. is not about categories, it is about the complexities of the human heart that lie beneath the surface. For myself, L.I.E. is about two things: (1) discovering the difference between love and lust, and (2) the fundamental condition of human loneliness and our search for honest intimacy. After the recent death of his mother, Howie has just discovered deep loneliness and is trying to resolve it as fast as he can; running away to California for adventure with a rebellious, sexy friend seems like the magic pill/instant cure for all his problems. As for Big John, years before the time of this film he decided to quench his loneliness in shallow sex with males of various ages, and in creating broad yet shallow relationships with the prominent members of his community. Yet he's never allowed anyone to get inside and really touch his heart, apparently not even his current adult lover/roommate. Suddenly, Howie is confronted with this man, who unlike Howie's father or friends, has answers to his questions about his worth and place in the world (and also knowledge of sex, which is a big part of life for a teenager). Simultaneously, the once-"Big" John is rendered small and weak in the face of the quiet grandeur and adolescent vulnerability of Howie's gentle, honest nature. For a moment, their lives intersect and neither of them knows quite what to do...both are in foreign territory, and both walk away with something they never had before. Howie walks away with the knowledge of his own value as a human being (hence, he's able to assert himself in confrontation with his father later in the film, and proclaim himself to the world), and John walks away knowing that he's made a permanent and vital difference in the life of another person, and that he's finally loved someone else, truly and completely. This film should not be missed, misunderstood or pigeonholed and forgotten. It is a boundary-breaker that speaks of the need for love and intimacy that lies most deeply in the human soul, regardless of superficial appearances.
Rating:  - Can only be described as "REAL"
Howie is a beautiful fifteen year old boy who has recently lost his mother and is struggling to accept his father's girlfriend as well as his own strong feelings for his friend with whom he breaks into houses. He gets caught after a break in by 'Big John' who finds young boys quite attractive. His friend runs off to another state and leaves Howie in the midst of this. Slowly a relationship that lies somewhere between pederasty and father-son develops between 'Big John' and Howie. It is disturbing at times to witness the relationships in this movie because of how gritty, painful, and even heartfelt they can be but the love that 'Big John' and Howie have is very unique and it can only be described as something rare and beautiful. I would hate to think that there are people out there who would discount the value of this movie just because it deals with homosexuality and also with intergenerational love. The cinematography is OUTSTANDING and brings something irreplaceble to the film. The end of this movie is rather on the anticlimactic side and leaves you wondering if the reel snapped. In retrospect it leaves nothing to be desired and leaves you with a substantial amount of food for thought.
Rating: - A disturbing, powerful piece of cinematic artistry
The title of the film "L.I.E." stands for the Long Island Expressway, a major road which could be seen as a metaphor for the "roads" of the characters' life choices. I also see the title as a dark pun on the "lies" that individuals tell to others, and possibly to themselves. Director Michael Cuesta (who also co-wrote the screenplay) brings to the film a real indie grittiness."L.I.E." focuses on the character of Howie (played by Paul Franklin Dano), a teenaged boy whose mother has perished in an L.I.E. crash. The film explores his troubled relationships with his father, with his thuggish "friends," and most shockingly, with a predatory older man (Brian Cox) who has a compulsive sexual fixation on teen boys. "L.I.E." may sound like a blatant "issue" film about child molestation, but it's not. There are many different issues and character arcs at work in this compelling story. On a larger scale, the film is about such universal issues as loss, abandonment, betrayal, and longing. Contributing to this film's excellence are a trio of superb performances. Brian Cox has been justly celebrated for his performance as John Harrigan. Cox brings to life a character who is charming and funny, yet also grotesque, pathetic, and frightening. As Howie's friend Gary, Billy Kay is also amazing: his seductive, charismatic performance reminds me of that of Jude Law in "The Talented Mr. Ripley." But holding it all together is Paul Franklin Dano as Howie. His role is less "showy" than that of Cox or Kay, but he gives a nuanced, intelligent, deeply moving performance. These performances alone make "L.I.E." worth watching. There are some truly shocking and nihilistic images in this film; I imagine that it will be just too much for many to take. There is also a lot of humor, much of it dark or cynical, but almost always effective. Overall, the film has a symmetry and artistry which are subtle but impressive; a second viewing brought out some details that I hadn't fully appreciated the first time around. "L.I.E." is a truly remarkable film, one that I found to be intensely gripping from start to finish.
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