WE LIVE IN AN AGE WHEN MOVIES OFTEN SEEM MORE important for what they’re saying than for what they are.
When we go into a quiet film about a serious subject—like Boy Erased, directed by Joel Edgerton and adapted from Garrard Conley’s 2016 memoir about enduring conversion therapy—our automatic response is to approve of its aims, even if we can see its flaws. To criticize a well-intentioned film excessively feels churlish, maybe even a little dangerous, especially in a social and political climate that seems to be backsliding in terms of progressiveness. No one wants to be on the wrong side of the argument.
This story is from the November 5,2018 edition of Time.
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This story is from the November 5,2018 edition of Time.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 8,500+ magazines and newspapers.
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