Kirpianuscus
at the first sigh, a simple, ordinary story about friendship, love, every day problems, problems and decisions. at the second, a good film. for its direct and fresh message. for the precise picture of a group of guys , different, nice, in middle of clash between feelings and choices and dialogues and physical attraction. short, one of film for an age when the t-shirt and jeans are very near by suits. and this did "Holding Trevor" not exactly a memorable film but a refreshing one. sure, part of characters are only sketches and the script is far to be great. but something gives to it a special look. and this is its necessary virtue.
smooth_op_85
I tried to care about these characters, even when two of them have tragic events in their lives.The only thing it seems to get right is dealing with a heroin addict and hoping that your denial is reality.Other than that, this film is pretty clumsy, the other gay guy has a music scene that doesn't fit the film and I don't remember if he even mentions his musical abilities or anything before that point.It just seems thrown together, no sense of pacing and at the end it left me just with scrunched eyes and wondering "Did anyone proofread this before they shot it? OR point out things that didn't make sense"
FromDecatur
The experiences of Trevor and his friends felt very real to me. I enjoyed experiencing their friendship and banter and found the three main characters very likable. Though Trevor's romantic relationships are central to the film, it felt much more as though it was about a point in Trevor's life where he needs to find a way to grow and move forward. The music was excellent. I thought the director made some nice touches, in particular with the scene involving looking at the lights and the good-bye party at the hospital. Overall, the emotions of the film rang true to me, the characters were people I found I cared about, and the humor unforced and good-natured.
robert-connor
A young man struggles to find purpose and meaning as he pulled in different directions by best friends, ex-partner and new man in his life.Rule number one: in order to take the audience on an 'in simpatico' journey with the troubled young protagonist, a film/script/level of character development must allow the audience to care. Trevor's problems are well telegraphed - dead-end job, ambivalent support from his friends, cyclical torments caused by junkie ex-lover, estrangement from family etc., but as Trevor is so unappealing, we find it hard to care. All the primary characters are so self-serving - Trevor's life is all about the aforementioned miseries, Jake is sour and one-note sarcastic, Andi is utterly self-absorbed (I want a man/I don't want a man), Daryl's addiction behaviour patterns and Ephraim's need for commitment and reassurance. Everyone looks at their lives and events with such a total lack of empathy that when Andi finally explodes and delivers her drunken tirade at Trevor for being so self-obsessed I actually had to laugh. Holding Trevor isn't about relationships with others, it's about relationships with 'self', and the eventual choice made by Trevor (start afresh or replace one needy and suffering friend with another) seems to reinforce this - Jake, Andi and Ephraim all put themselves first ('you can't go/stay; we need you') and for all the suggestion of positive change (Trevor's quitting from his job), the reality is just more of the same for poor, poor Trevor... his choice.
AD
