Richard Lawson for Vanity Fair Excerpt:
… there’s a terrific scene toward the end of the film in which Jared calmly, but with a tremble of emotion in his voice, lays out to his father what a continued relationship between the two of them would have to look like. It’s a smart, emphatic, direct piece of writing. And Hedges and Crowe are terrific together, as two men—one young and newly free with self-discovery, the other old and needing to reconsider toxic, long-held ideals—trying to lurch themselves forward together.
Jared’s father (Crowe) is an Arkansas pastor, and his wife (Kidman) is also a devout Christian, but they clearly love their only son, and the film resists the temptation to caricature them.
Crowe captures the single-mindedness of a religious zealot, along with genuine concern for his son. Kidman’s role is even richer, for her journey involves not simply accepting her son but also recognizing her own subjugation in a male-dominated community. When she apologizes to her son for her complicity in bending to her husband and the other men in town, her confession is wrenching as both a gay-positive and feminist statement, timely on both counts without being overstated.
David Erlich for IndieWire (also positive)
Looks like Telluride is the opener.