Review of Shelter (2007) by Eyal D — 08 Jul 2008

SHELTER â?? 2007 â?? *** C+/B-.

By Jonah Markowitz; With Trevor Wright, Brad Rowe and Tina Holmes.

The Afterschool Special has gotten an upgrade in the last several years, with what once were hot topics becoming merely food for thought. SHELTER fits the bill of topical drama aimed at a market of gay youths, taking on the responsibility of educating, alienated, even troubled young men that homosexuality is not a sin. Taking its cue from the formidable docudramas that were once the norm of handling sensitive subject matters, SHELTER, produced by HERE! Films (an offshoot of the gay & lesbian cable network) offers a tender if not an altogether tame look at a boy coming to term with his sexuality.

While the film is never unsuccessful at sending its message or selling its mores, as a feature film it is really up to star Trevor Wright to connect with his audience in order to hook them onto this gentle tale, with which, I can surely attest, he succeeds in doing so by establishing an empathic, thoughtful yet complex Character named Zach.

Zach lives with his struggling, unreliable older sister Jeanne, mother to five-year old Cody who, fatherless, connects with the college bound Zach and brands him his wannabe dad. The two bond unconditionally if simply by the fact that Zach is always taking care of the little tyke. Zachâ??s also an artist who has somewhat given up hope of pursuing his passion mainly because of his loyalty to family and his fear of moving away to college.

Enter (or is it re-enter) Shaun, older brother of Zachâ??s best friend. The two have known each other throughout their lives but years have passed and Shaun had since moved away and became a published novelist. Now back for a short-term visit in his empty posh beach-side home he is the primary lure for surfer Zachâ??s coming out. You see, the townâ??s deep dark secret (not much of a secret though) is that Shaun is openly gay and - depending who you talk to â?? he should be kept away from those way too vulnerable to be influenced.

Well conflict arises when the selfish Jeanne does not approve of her brother newfound friendship with Shaun. Zach himself is conflicted when Shaun sneaks a heartfelt kiss and the entire film unfolds as Zach comes to terms of his feelings and then shares his self-discovery with those around him.

The characters around Zach, basically two-dimensional, are either ignorant and reactionary (though only for a moment) or supportive and very accepting of Zach (each given a scene to pronounce their understanding). In this sense there is not enough dramatic conflict to really elevate the film to much more than a simple cautionary tale. At eighty-eight minutes there is no such room for elaboration.

Thus, the film merely skims over the sensitive topic, touching base with the various aspects of acceptance and its insight into homosexuality but it rarely truly challenges the topic. That it is sweet natured and well intentioned is noble yet not quite sufficient to rise above its poignancy. For a film filled with secrets, its main revelation is such that everybody already knows about Zach and, funny enough, Zach is the last to discover his own sexuality for himself. Similarly, and most likely, anyone catching this film will already be considerably attuned to the subject matter, as if the makers of SHELTER were the last to discover homosexuality and the many steps towards coming out.